1 2 x + 3

Solve inequalities is no different than solving regular
equations.  In both cases, you need to get all the x terms on one side of the equation
and all the numbers on the other.

One way to do this
question is this:

Subtract 4x from both sides.  You now
have

-3.5x + 3 <
-7

Subtract 3 from both
sides

-3.5x <
-10

Divide both sides by -3.5.  Be sure to switch the
direction of the inequality sign.

x >
2.85

If you prefer, you can multiply both sides by 2 to get
your .5x to be x.

x + 6 < 8x -
14

Then you move the 8x and the
6.

-7x < -20

Again, be
sure to switch the direction of the inequality sign.

x
> 20/7

or

x >
2.85

1 2 x + 3

Solve inequalities is no different than solving regular equations.  In both cases, you need to get all the x terms on one side of the equation and all the numbers on the other.

One way to do this question is this:

Subtract 4x from both sides.  You now have

-3.5x + 3 < -7

Subtract 3 from both sides

-3.5x < -10

Divide both sides by -3.5.  Be sure to switch the direction of the inequality sign.

x > 2.85

If you prefer, you can multiply both sides by 2 to get your .5x to be x.

x + 6 < 8x - 14

Then you move the 8x and the 6.

-7x < -20

Again, be sure to switch the direction of the inequality sign.

x > 20/7

or

x > 2.85

What is the meaning of the conclusion in Cormac McCarthy's The Crossing?

At the end of the novel, Billy has lost almost everything in his life. He lost the female wolf, lost his family and home, and lost his brother to death. Even his attempt to bring his brother back for a proper burial is thwarted with extreme cruelty. One thing that Billy cannot seem to find is a proper place for himself; he is drawn to the road despite his attempts to find his place in the world, and despite advice given to the contrary.

By the time he meets the stray dog, which only wants human companionship, he is bitter and disillusioned about his life, and he wants to wallow in his anger alone. He drives the dog away -- a mistake, as he could have begun to heal from his ordeals through this interaction. Instead, he doesn't think about the importance of companionship until the very end, but it is too late.

He called and called. Standing in that inexplicable darkness. Where there was no sound anywhere save only the wind. After a while he sat in the road. He took off his hat and placed it on the tarmac before him and he bowed his head and held his face in his hands and wept. He sat there for a long time and after a while the east did gray and after a while the right and godmade sun did rise, once again, for all and without distinction.
(McCarthy, The Crossing, Google Books)

The ending shows that Billy has been more-or-less broken by his experiences. He cannot get ahead through his own actions, and he can't seem to affect the world around him in a positive way. Everything he tries ends in failure. The last line, referencing the sun rising "for all and without distinction," shows that the world will continue regardless of his actions; Billy is ultimately meaningless in the larger scheme of things, as the sun will rise on anyone, anywhere. He is not special or important; he is simply a person like any other, but with the burden of extreme bad luck, some bad choices, and ultimately a worldview of bleak determinism. Billy is, for better or for worse, doomed to failure.

Why does Aldous Huxley choose the title "Brave New World" for his novel?

There is an interesting video produced by Ewan Jones-Morris titled "Brand New World" that plays on the title and its ironic choice for Huxley's novel.  You may not agree with it or like it, but it is interesting.  I bought a copy for my classes, but I think it is available for viewing on the net.

Show how "The Flea" is a metaphysical poem by John Donne?

Metaphysical poetry involves the elevation of a seemingly
common item or action to an almost spiritual level of importance, and John Donne’s “The
Flea” illustrates this definition perfectly.

In
the poem, the speaker equates the “two bloods mingled” within the body of a flea with
the marriage of a man and his wife. Thus, the speaker argues to his lover that they,
from a certain perspective, are “one blood made of two.” From the speaker’s perspective,
the engorged flea is elevated from a pest to a “marriage bed” and “marriage temple.” The
speaker seemingly transfers the sacred characteristics, meanings, and implications of
marriage to a common flea.

However, the speaker
does not stop with this argument. To reinforce his point, the speaker also warns his
lover to not kill the flea because to do so would be “self murder.” By killing the flea,
one would be destroying a part of the speaker and his lover as well as their “union.”
 Thus, the value of the flea is elevated to that of a human life as well.

Show how "The Flea" is a metaphysical poem by John Donne?

Metaphysical poetry involves the elevation of a seemingly common item or action to an almost spiritual level of importance, and John Donne’s “The Flea” illustrates this definition perfectly.

In the poem, the speaker equates the “two bloods mingled” within the body of a flea with the marriage of a man and his wife. Thus, the speaker argues to his lover that they, from a certain perspective, are “one blood made of two.” From the speaker’s perspective, the engorged flea is elevated from a pest to a “marriage bed” and “marriage temple.” The speaker seemingly transfers the sacred characteristics, meanings, and implications of marriage to a common flea.

However, the speaker does not stop with this argument. To reinforce his point, the speaker also warns his lover to not kill the flea because to do so would be “self murder.” By killing the flea, one would be destroying a part of the speaker and his lover as well as their “union.”  Thus, the value of the flea is elevated to that of a human life as well.

Why won't Ponyboy believe that Johnny is dead in "The Outsiders"?

There are several reasons.  First, Johnny was so young.  I remember losing a friend of mine who was 14 (I was 17) and I was in disbelief for months.  People aren't supposed to die young.  It isn't the natural course of life and this is part of the reason Ponyboy has such a tough time.  Also, they were very close friends, so this is a huge loss for Ponyboy.  He's in denial.  In addition, Johnny had been through so much in his short life that Ponyboy saw his death as being so unfair.  Johnny never had the chance to grow up and go to college, get married, etc.

What is the resolution and the falling action of the Lady or the Tiger?

The falling action of the story is actually the point at which the princess waves her hand to the right and the story ends. There is no resolution, the ending is ambiguous, meaning you choose what you think happened at the end.

Something interesting about this ambiguous ending is that Stockton never knew that it would draw the attention that it did. He had angry readers demanding that he write an ending to the story. When he finally came forward with an answer to everyone's burning question, "the lady or the tiger?" his answer was that whichever door the reader believed the princess pointed to could be revealing about the reader's character. That's it- he never wrote an ending. It makes the story really great for thought because you really sit back and think about what you yourself might do and why and what that says about your own character.

Compare and contrast the characters of Brutus and Cassius in Julius Caesar.

Marcus Brutus -

� A supporter of the Republic who believes strongly in a government guided by the votes of senators.

� While Brutus loves Caesar as a friend, he opposes the ascension of any single man to the position of dictator

� He fears that Caesar aspires to such power.

� Brutus’s inflexible sense of honour makes it easy for Caesar’s enemies to manipulate him into believing that Caesar must die in order to preserve the republic.

� While the other conspirators act out of envy and rivalry, only Brutus truly believes that Caesar’s death will benefit Rome .

� Torn between his loyalty to Caesar and his allegiance to the state, Brutus becomes the tragic hero of the play.

� Brutus emerges as the most complex character in Julius Caesar and is also the play’s tragic hero.

� He is a powerful public figure, but he appears also as a dignified military leader, and a loving friend.

� In a moment of na�ve idealism, he ignores Cassius’s advice and allows Antony to speak a funeral oration over Caesar’s body 

Cassius -

� A talented general and long-time acquaintance of Caesar

� Dislikes the fact that Caesar has become godlike in the eyes of the Romans.

� He slyly leads Brutus to believe that Caesar has become too powerful and must die, finally converting Brutus to his cause by sending him forged letters claiming that the Roman people support the death of Caesar.

� Impulsive and unscrupulous-- shrewd opportunist-- proves successful but lacks integrity.

Write a note on Hamlet's "Antic" disposition. I need a brief answer about above question.

Even before Hamlet's meeting with his father's ghost, he knows that his uncle suspects him of plotting a coup against him. Claudius would naturally think that way because he thinks that way himself. People always judge others by themselves. When Macbeth is plotting against Duncan, he says in a soliloquy:

But in these cases
We still have judgment here, that we but teach
Bloody instructions, which, being taught, return
To plague th' inventor. This even-handed justice
Commends th' ingredience of our poisoned chalice
To our own lips.  (1.7)

Much of Shakespeare's Hamlet is about Claudius spying on his stepson and getting others to spy on him. He uses Polonius, Rosencrantz, Guildenstern, Gertrude, and even Ophelia to try to get inside Hamlet's mind and find out if he might be planning to organize a coup. Like Macbeth, his guilt makes him paranoid. His excessive drinking is due to his guilt and fear.

Once Hamlet learns that Claudius killed his father and usurped the throne, he knows that it will be difficult to hide his true thoughts from the cunning king. Before his interview with the Ghost, Hamlet had no thoughts of violence against his uncle. He seemed content to wait his turn to become king. He was not particularly ambitious. But now that he knows the terrible truth about Claudius he feels it will be impossible for him to hide his hatred and his sacred obligation to murder him. This is evidently why he decides to pretend to be mad. It will make it impossible for Claudius or any of his spies to penetrate his mask of madness.

Polonius, Ophelia, Rosencrantz, Guildenstern, and Gertrude may all be taken in by Hamlet's "antic disposition" and believe him to be a harmless lunatic; but Claudius remains suspicious. He tells Polonius, in a marvelous metaphor:

There's something in his soul,
O'er which his melancholy sits on brood,
And I do doubt the hatch and the disclose
Will be some danger . . .

The entire play may be read as a duel of wits between Claudius the protagonist and Hamlet the antagonist. Hamlet is never really mad. He is in a perilous situation and feels compelled to pretend madness in order to remain free to work out his revenge against an extremely crafty, powerful, unscrupulous, and dangerous opponent.

Closely analyzing Edmund's "Thou, nature, art my goddess" speech in King Lear, explain what Edmund says and what it shows about his character.In...

In act one, scene 2 of King Lear
(lines 1-23), Edmund reconfirms his life's creed and its
goals.

"Thou, nature, art my
goddess":  You, nature (natural selection, survival of the fittest, etc.) are
my inspiration and leader.

"To thy law my
services are bound":  I am not bound by society's laws but by the laws of
nature, (the law of the jungle).

"Wherefore
should I stand in the plague of custom":  Why should I be constrained by the
limitations of society...

"and permit the
curiosity of nations to deprive me":  and allow its particular and arbitrary
rules to hold me back...

"for that I am some
twelve or fourteen moonshines lag of a brother?":  just because I'm 12 or 14
months younger than my brother?

"Why 'bastard'? 
Wherefore 'base'?":  Why am I called a 'bastard' (illegitimate)? Why am I
considered 'inferior'?...

"When my dimensions are
as well compact":  considering that my body is as
strong...

"my mind as generous and my shape as
true as honest madam's issue?":  my mind is as capable, and my looks are as
good as those of a child of some respectable woman? (as opposed to that of a whore, like
my mother).

"Why brand they us with 'base,' with
'baseness,' 'bastardy,' 'base,' 'base'?":  Why do they stamp
us with terms like 'inferior,' 'inferiority,
'illegitimate,' 'inferior,' 'inferior'?...

"who,
in the lusty stealth of nature, take more composition and fierce quality than doth
within a dull, stale, tired bed go to the creating a whole tribe of fops got 'tween
asleep and wake?":  us who, conceived in hot and
hidden sexual passion, are created with more substance and strength than are a whole
tribe of weaklings made by two people in bed who are half
asleep?!

"Well then, legitimate Edgar, I must
have your land.":  Well then, my 'valid' brother Edgar - because you are one
of those weaklings (created in the way I've described above), it is only fitting that I,
the stronger and fitter brother, should have what is now considered
yours.

"Our father's love is to the bastard
Edmund as to th' legitimate":  After all, our father loves me, the 'bastard,'
as much as he loves you, the 'valid' one.

"Fine
word, 'legitimate'":  Fine word,
'valid.'

"Well, my legitimate, if this letter
speed and my invention thrive, Edmund the base shall top th' legitimate.": 
Well, my valid one, if this letter (the fake one I've devised by forging your
handwriting) works and my plan succeeds, I (the inferior one) will vanquish the
'valid.'

"I grow, I prosper.":  I get
stronger, I thrive.

"Now, gods, stand up for
bastards!":  Now, you, the powers-that-be, stand up for us
'bastards''!

Edmund, the son of a whore -- slighted,
neglected and derided from birth -- has become as hard and tough in his heart and mind
as he has in his body.  As the play will show, he will do whatever it takes (deceive,
betray, kill) to get what he feels is rightfully his.

Closely analyzing Edmund's "Thou, nature, art my goddess" speech in King Lear, explain what Edmund says and what it shows about his character.In...

In act one, scene 2 of King Lear (lines 1-23), Edmund reconfirms his life's creed and its goals.

"Thou, nature, art my goddess":  You, nature (natural selection, survival of the fittest, etc.) are my inspiration and leader.

"To thy law my services are bound":  I am not bound by society's laws but by the laws of nature, (the law of the jungle).

"Wherefore should I stand in the plague of custom":  Why should I be constrained by the limitations of society...

"and permit the curiosity of nations to deprive me":  and allow its particular and arbitrary rules to hold me back...

"for that I am some twelve or fourteen moonshines lag of a brother?":  just because I'm 12 or 14 months younger than my brother?

"Why 'bastard'?  Wherefore 'base'?":  Why am I called a 'bastard' (illegitimate)? Why am I considered 'inferior'?...

"When my dimensions are as well compact":  considering that my body is as strong...

"my mind as generous and my shape as true as honest madam's issue?":  my mind is as capable, and my looks are as good as those of a child of some respectable woman? (as opposed to that of a whore, like my mother).

"Why brand they us with 'base,' with 'baseness,' 'bastardy,' 'base,' 'base'?":  Why do they stamp us with terms like 'inferior,' 'inferiority, 'illegitimate,' 'inferior,' 'inferior'?...

"who, in the lusty stealth of nature, take more composition and fierce quality than doth within a dull, stale, tired bed go to the creating a whole tribe of fops got 'tween asleep and wake?":  us who, conceived in hot and hidden sexual passion, are created with more substance and strength than are a whole tribe of weaklings made by two people in bed who are half asleep?!

"Well then, legitimate Edgar, I must have your land.":  Well then, my 'valid' brother Edgar - because you are one of those weaklings (created in the way I've described above), it is only fitting that I, the stronger and fitter brother, should have what is now considered yours.

"Our father's love is to the bastard Edmund as to th' legitimate":  After all, our father loves me, the 'bastard,' as much as he loves you, the 'valid' one.

"Fine word, 'legitimate'":  Fine word, 'valid.'

"Well, my legitimate, if this letter speed and my invention thrive, Edmund the base shall top th' legitimate.":  Well, my valid one, if this letter (the fake one I've devised by forging your handwriting) works and my plan succeeds, I (the inferior one) will vanquish the 'valid.'

"I grow, I prosper.":  I get stronger, I thrive.

"Now, gods, stand up for bastards!":  Now, you, the powers-that-be, stand up for us 'bastards''!

Edmund, the son of a whore -- slighted, neglected and derided from birth -- has become as hard and tough in his heart and mind as he has in his body.  As the play will show, he will do whatever it takes (deceive, betray, kill) to get what he feels is rightfully his.

What are Santiago's personal flaws in The Alchemist by Coelho; what holds the character back from reaching his goals?

In Paulo Coelho's The Alchemist,
there seem to be very few things that hold the character back from achieving his goals.
In terms of personal "flaws," he trusts too easily and he experiences self-doubt after
he is robbed.

When Santiago decides to sell his sheep, he
is too quick to trust someone that he does not know. Part of the difficulty is that the
bartender tries to warn Santiago, but they do not speak the same language. Santiago also
does not spend much time in a community of people, traveling alone except for his sheep.
This is not a personal flaw as I see it, but inexperience. He
is disheartened and momentarily loses faith in himself—and
this might well be seen as a personal flaw that temporarily stops
his progress toward realizing his dream.

It might be
considered a personal flaw that he believes that true wealth is found in things of
material value. He does not understand that things of true value are often intrinsic in
nature. However, one of Santiago's positive traits is his willingness to open his mind
to new ideas, and he soon learns that he has been
mistaken.

The other instance where Santiago is harshly
tested, which stops his quest to fulfill his Personal Legend is when he goes to the
crystal merchant for a job. Two important things happen here. First, the merchant tells
Santiago that even if he worked for a year, he would still have to borrow money to
travel to Egypt. At this moment everything the boy has learned and wished for almost
ceases to exist.

readability="15">

There was a moment of silence so profound that
it seemed the city was asleep. No sound from the bazaars, no arguments among the
merchants, no men climbing to the towers to chant. No hope, no adventure, no old kings
or Personal Legends, no treasure, and no Pyramids. It was as if the world had fallen
silent because the boy's soul had. He sat there…wishing he had died, and that everything
would end forever at that
moment.

In this we see
Santiago's complete loss of faith. The heroic young man with such
towering aspirations and optimism is crushed in a single moment when an enormous
obstacle appears in his path. This may well indicate a personal flaw: it certainly stops
him from moving forward. In fact—and this is the second thing that happens—Santiago
loses faith in his dream, his Personal Legend. In this instant he resolves to work for
the crystal merchant to earn enough money to buy sheep and return to his old
life.

This is exactly what Melchizedek, the King of Salem,
had referred to when he had shared with Santiago the experience of the miner who had
almost given up his Personal Legend after working so hard—and at
this point Melchizedek had stepped in to help. However, this "flaw" in Santiago is
understandable. His ability to overcome it takes eleven months. It seems, as is common
in this story, that the universe "conspires" to help the boy achieve his goal. This time
is well-spent in that he has the chance to think about his life, his goals, his
strengths, and his dreams. He is also able to discover the universal language that leads
him to watch for omens, as he tells the crystal merchant. Standing up to the merchant's
suggestion that he return to his sheep, we see how much the boy has
grown.

Whatever impediments that stand in Santiago's way
because of his "flaws," he ultimately puts aside—he regains his faith in the world
and himself, and is able to once again move toward his goal.
Eventually the boy finds more wealth than he could have ever
imagined.

What are Santiago's personal flaws in The Alchemist by Coelho; what holds the character back from reaching his goals?

In Paulo Coelho's The Alchemist, there seem to be very few things that hold the character back from achieving his goals. In terms of personal "flaws," he trusts too easily and he experiences self-doubt after he is robbed.

When Santiago decides to sell his sheep, he is too quick to trust someone that he does not know. Part of the difficulty is that the bartender tries to warn Santiago, but they do not speak the same language. Santiago also does not spend much time in a community of people, traveling alone except for his sheep. This is not a personal flaw as I see it, but inexperience. He is disheartened and momentarily loses faith in himself—and this might well be seen as a personal flaw that temporarily stops his progress toward realizing his dream.

It might be considered a personal flaw that he believes that true wealth is found in things of material value. He does not understand that things of true value are often intrinsic in nature. However, one of Santiago's positive traits is his willingness to open his mind to new ideas, and he soon learns that he has been mistaken.

The other instance where Santiago is harshly tested, which stops his quest to fulfill his Personal Legend is when he goes to the crystal merchant for a job. Two important things happen here. First, the merchant tells Santiago that even if he worked for a year, he would still have to borrow money to travel to Egypt. At this moment everything the boy has learned and wished for almost ceases to exist.

There was a moment of silence so profound that it seemed the city was asleep. No sound from the bazaars, no arguments among the merchants, no men climbing to the towers to chant. No hope, no adventure, no old kings or Personal Legends, no treasure, and no Pyramids. It was as if the world had fallen silent because the boy's soul had. He sat there…wishing he had died, and that everything would end forever at that moment.

In this we see Santiago's complete loss of faith. The heroic young man with such towering aspirations and optimism is crushed in a single moment when an enormous obstacle appears in his path. This may well indicate a personal flaw: it certainly stops him from moving forward. In fact—and this is the second thing that happens—Santiago loses faith in his dream, his Personal Legend. In this instant he resolves to work for the crystal merchant to earn enough money to buy sheep and return to his old life.

This is exactly what Melchizedek, the King of Salem, had referred to when he had shared with Santiago the experience of the miner who had almost given up his Personal Legend after working so hard—and at this point Melchizedek had stepped in to help. However, this "flaw" in Santiago is understandable. His ability to overcome it takes eleven months. It seems, as is common in this story, that the universe "conspires" to help the boy achieve his goal. This time is well-spent in that he has the chance to think about his life, his goals, his strengths, and his dreams. He is also able to discover the universal language that leads him to watch for omens, as he tells the crystal merchant. Standing up to the merchant's suggestion that he return to his sheep, we see how much the boy has grown.

Whatever impediments that stand in Santiago's way because of his "flaws," he ultimately puts aside—he regains his faith in the world and himself, and is able to once again move toward his goal. Eventually the boy finds more wealth than he could have ever imagined.

In Chapter Four of "Call of The Wild" in the last paragraph, the dogs knew what had happened behind the river trees. But what happened? It...

The Scotch half-breed waited until the train had "passed out of sight behind a belt of river timber".  He then "slowly retraced his steps to the camp they had left", and, with "a single revolver shot", euthanized his faithful dog Dave. 

The last two pages of the chapter chronicle Dave's deterioration and his heart-rending determination to remain in the traces until the end.  "Something had gone wrong with (Dave)"; he became weaker and weaker, "falling repeatedly in the traces", and crying out from the pain of a an unidentified hurt deep within him.  The half-breed cut him loose, hoping that rest would allow the dog to get better, but Dave bit through the harness of the dog that replaced him, demanding to be allowed to pull in his usual spot.  The driver, knowing that "a dog could break its heart through being denied the work that killed it", allowed him to pull until he coould literally pull no more.  At the end, Dave did not even have strength to drag himself to the traces, and "the last his mates saw of him he lay gasping in the snow and yearning toward them".  It was then that the Scotch half-breed drove his team around the bend, leaving them while he went back to put Dave out of his misery.  Even though they could not see what was happening, the dogs heard the gunshot and knew that Dave has been killed (Chapter 4).

Why did Calpurnia fuss over the children so much before taking them to the First Purchase Church?

Going to church in the black community is a time for
everyone to present his/her best self.  It is an important social affair where women
wear hats, and people wear their finest clothes.  The night before church, Calpurnia
gives Scout and Jem a bath, scrubbing them to make sure they are clean. She sets out
their Sunday clothes and makes sure they are ready to go with her on time. The
children’s cleanliness and the way they are dressed is a reflection on Calpurnia’s
ability to take care of the children of her employer. Dressing up for church is also a
sign of respect that Calpurnia wants to make sure the children show. She knows that this
will be a new experience for the children and Calpurnia wants to make sure they are
respectful and presentable to the congregation. Calpurnia may also fear some backlash
from the congregation, like she does when Lulu says to Calpurnia that “You ain’t got no
business bringin’ white chillun here—they got their church, we got our’n."  Scout and
Jem’s reception at the church is a little cold, and, at first, it is questioned by the
congregation until Reverend Sykes and Zeebo welcome them to the service.  It is ironic
that the black church in Maycomb is so welcoming because a white church in Maycomb would
never embrace black children attending their services.

Why did Calpurnia fuss over the children so much before taking them to the First Purchase Church?

Going to church in the black community is a time for everyone to present his/her best self.  It is an important social affair where women wear hats, and people wear their finest clothes.  The night before church, Calpurnia gives Scout and Jem a bath, scrubbing them to make sure they are clean. She sets out their Sunday clothes and makes sure they are ready to go with her on time. The children’s cleanliness and the way they are dressed is a reflection on Calpurnia’s ability to take care of the children of her employer. Dressing up for church is also a sign of respect that Calpurnia wants to make sure the children show. She knows that this will be a new experience for the children and Calpurnia wants to make sure they are respectful and presentable to the congregation. Calpurnia may also fear some backlash from the congregation, like she does when Lulu says to Calpurnia that “You ain’t got no business bringin’ white chillun here—they got their church, we got our’n."  Scout and Jem’s reception at the church is a little cold, and, at first, it is questioned by the congregation until Reverend Sykes and Zeebo welcome them to the service.  It is ironic that the black church in Maycomb is so welcoming because a white church in Maycomb would never embrace black children attending their services.

What is the meaning of conflict in "Romeo and Juliet"?

Shakespeare's play, Ovidian in nature, is a play of contrasts. As such, conflict works as the counterpoint to love in this tragedy. Just as in Ovid's Metamorphoses, "violent delights have violent ends." (2.2)

Romeo and Juliet's love develops from terrible conflict: In the evening of the street fight, Romeo meets his enemy's daughter Juliet and falls in love; theirs is a violent love, a "violent delight."
There is constant conflict: When Romeo comes to Friar Laurence, he does not wish to join the two lovers in marriage; however, Romeo's behavior convinces the priest that it would be better if he and Juliet were married. Romeo feels great delight to be married to Juliet, be he soon comes into great conflict with Tybalt, who yet holds "the ancient grudge,"; they fight and Romeo slays Tybalt. Then, because he has violated the command of the Prince of Verona, Romeo is banished from the city. Learning of his banishment and his murder of Tybalt, Juliet's love for her cousin and for her husband now conflict.
In addition, she comes into conflict with her parents who insist that she marry Paris, a wealthy aristocrat, so that she will recover from the loss of her beloved cousin Tybalt. Unbeknown to her parents, however, is the fact that she is married already, so in her violent personal conflict, Juliet finds herself in a quandary. In order to deal with this conflict, she follows the directions of Friar Laurence and ingests a vial of a sleeping potion, which simulates death for a short time. During this time that Juliet is interred, the friar hopes to ameliorate the relationship between Montagues and Capulets.

Malevolently, Fate enters in as Friar Laurence's messenger is turned away in Mantua where he has come into conflict with authorities there who forbid him to enter the city because of a plague. In the meantime, Romeo hears from his servant that Juliet is entombed in Verona. Amid great inner conflict as his emotions are desperate, Romeo rushes to an apothecary, buys poison, then he heads to Verona in order to find Juliet. Believing that she lies dead in the family tomb, he enters, and kills Paris who attempts to enter the catacomb. Finding Juliet limp and pale, Romeo kills himself. Not long afterwards, Juliet is revived from the potion. Tragically, however, she discovers the body of Romeo, and she, too, commits suicide and also dies.

In the first act, Romeo has had a premonition of all that is to come; he senses the conflict, the acts of fate:

I fear, too, early. For my mind misgives
Some consequence, yet hanging in the stars, 
Shall bitterly begin his fearful date. (1.4)

In the end, the Prince declares, "Some shall be pardoned, and some punished." (5.3)

Does Ralph have a last name in Lord of the Flies? And if so, can someone please tell me what it is?Im doing a project for my senior English class,...

In his novel about a group of schoolboys stranded on a deserted island, Lord of the Flies, William Golding does not provide one of his main characters, Ralph, with a last name.  From his initial introduction in Chapter One, the boy who will quickly emerge as one of the leaders is identified only by his first name, Ralph. Unlike Piggy, the fat kid with glasses who will represent vulnerability more than the others, Ralph represents the thin line the boys begin to walk between civilization and savagery.  The starkness of the contrast between these two boys is exemplified in another early scene in which Ralph and Piggy first discover the conch shell that will come to play a major role in Golding's story.  Piggy, nervous and excited about the finding, attempts to caution the more adventurous Ralph:

“Careful! You’ll break it—”
“Shut up.”
Ralph spoke absently. The shell was interesting and pretty and a worthy
plaything; but the vivid phantoms of his day-dream still interposed
between him and Piggy, who in this context was an irrelevance.

Ralph will continue to represent authority tinged with sadism, but, as the novel's central conflict -- other than the struggle to survive the elements -- between himself and Jack develops, he comes to represent the humanity and responsibility that contrasts with Jack's depravity.

Who said, "I! I! I am a simple man. I have no great thoughts. i want nothing from nobody. How can you compare me to...."

The Russian, also known as the harlequin because of his clothing, makes these remarks in a conversation with Marlow when Marlow is asking about the heads on stakes at Kurtz's compound. The Russian, whom Conrad describes as "Kurtz's last disciple," declares that those heads belonged to "rebels"; Marlow is nevertheless appalled at the savagery and makes it clear he does not idolize Kurtz as the Russian does. The harlequin tries to rationalize Kurtz's behavior, noting the extreme conditions under which he's lived, and Marlow then asks him, "And what about you?" In response, the Russian humbly makes these comments. He cannot imagine comparing himself to Kurtz, the man who has "enlarged" his mind.

Give three examples of poetic imagery from the novel Their Eyes Were Watching God. How does this imagery help one understand Janie's journey?

Images abound in this novel. Start with the very first line of Chapter 1: "Ships at a distance have every man's wish on board." Wow. That makes wishes into cargo—into physical objects. A bit later, there's this great line: "The sun was gone, but he left his footprints in the sky." This creates a very vivid sense of how the sky looked, but also of how personalized their world was. Finally, from the same paragraph: "Mules and other brutes had occupied their skin." This combination of an almost sterile word—"occupied" with an image like possession creates a dichotomy.

As far as Janie, the imagery gives a sense of the world in which she's traveling, and of the distinction between men and women.

Who is the protagonist, antagonist, and catalyst? What is the theme? What is the conflict?none

Laurie/Charles appears to be the answer to each of your questions.  Laurie is the protagonist (the well-rounded main character) and Charles is the antagonist (causing trouble wherever he goes.  The catch, of course, is that one person is both, though we don't realize it until the end.  Both are actually fairly round, dynamic characters who do nearly all the actions--both good and bad--in Shirley Jackson's "Charles."  If that's the case, you can probably assume this character is the cause of everything else in the story.

In "Winter Dreams," what motivates Dexter Green to reach his goals?

Dexter wants a perfect life and the things that money can buy. He has confidence in himself and is willing to work hard. The biggest motivation for Dexter is Judy Jones. When he sees that her beauty is gone, Dexter's dreams of a perfect life are also gone. All he feels is emptiness.

In "Huckleberry Finn", why did Twain use a 13-year-old boy as a good friend to Jim, who is an adult black runaway slave, to run away with?is there...

Youth is used by many authors to represent the idea of naivete or innocence. In the case of Huck, his youth is an asset because he views Jim as more of a human than his adult peers, who see only a black slave. Moreover, because Jim is considered to be of a "lower" social status, Huck feels more comfortable speaking frankly with him than with, say, the Widow Douglas, whose social station is far above his. After all, Huck's background is not one of white-collar repute.

Adolescence is also a time of great transition physically, mentally, and emotionally. The transition represented by Huck's age can be associated with the cultural and historical transition of this setting's time period. Twain also seems to be pointing out the similitude of Huck and Jim despite their obvious racial differences throughout this novel.  

What is meant by, "It was a tiny incident in itself but it gave me a better glimpse than I had had before of the real nature of imperialism"

What the narrator is referring to is the incident in which he actually shot the so-called "crazed" elephant. He never wanted to shoot it, but he felt the pressure from the natives to do so. He writes a story about this event to show how the imperialists were not free, but actually very bound by their beliefs and system. He felt like a prisoner rather than a person in a position of power in this village that he was made to police. He knew he should not have shot the elephant, it had calmed down and wasn't hurting anyone, but he had the villagers behind him silently urging him to do it. Even though he was supposed to be a powerful man among this territory, he wasn't, he was at the mercy of the villagers in every move that he made and so he shows us the true nature of imperialism. When trying to rule a territory far removed from the ruling power, a person feels powerless because the government is a more abstract body.

"The sole thought in my mind was that if anything went wrong those two thousand Burmans would see me pursued, caught, trampled on, and reduced to a grinning corpse . . .That would never do."

Even though he knows it's wrong, he still does it (at the suffering of the elephant because he had the wrong kind of gun) to avoid being disliked by the Burmans.

In "The Scarlet Letter", who does Hester recognize in the crowd and what vow does she make?

Hester recognizes her husband, Roger Chillingworth, who has returned from the Indian settlement for ransom. He recognizes her, but she signals him to be quiet.

Through his conversation with a townsman, Chillingworth learns the father of Hester's baby is unknown; despite the pleading of man of the powerful men in town, Hester refuses to talk. Chillingworth then vows that he will find out the identity of the man that is the father of the child and helped cause Hester to be outcast.

What is an alliteration?

Alliteration is a term in the broader topic of figurative language.  It is often found in poetry, but can also be found in prose.  The best way that I have to get my students to remember alliteration is to think of tongue-twisters.  The definition is actually repeating initial or beginning consonant sounds in a group of words.  Tongue-twisters do this all the time.  "She sells seashells by the seashore."  In this example, the repeating sound is the "s" sound.  One thing I always do to get my students to remember this even more (sometimes remembering what a consonant is can be tricky) is to have them name the vowels:  a, e, i, o, u and sometimes y.  Any other letters are consonants.  Just tell yourself, "alliteration = tongue-twister," and you will probably remember it a little better.

What is the plot of "How much land does a man need?"

What is interesting about this story is that it appears to
be more of a parable than a tale - it can be read as an allegory, though we always need
to be careful when interpreting allegories. The tale begins when Pahom, a Russian
peasant, overhears his wife and her sister having an argument over whether it is better
to live in the country or the city. This leads Pahom to make the dangerous declaration
that if he just had enough land, he would not even have to fear the Devil. Of course,
the Devil hears this boast and decides to put this to the test and exploit the greed of
Pahom. The story relates Pahom´s success in buying land, yet also his dissatisfaction.
He is seen to treat the peasants as badly as he was once treated, and continues to buy
more and more land, but it is never enough. One day, a travelling merchant tells Pahom
about the Bashkir region, where very fertile ground can be purchased very cheaply.
Pahom, led by greed, travels there with all his money - 1000 rubles. The Bashkirs agree
to sell him for this sum as much money as he can pace off in a day, as long as he
returns before the end of day to his starting point. Pahom walks far, trying to get as
much land as possible, but in his rush to get back to the beginning he collapses and
dies. He ends up with six feet of land - enough to bury
him.

This masterful story thus deals with the central
question - how much is enough for us, and what is the difference between what we need
and what we want? Tolstoy was writing after serfs in Russia had been given their
freedom, and although he didn´t want them to return to their oppressed state, his tale
seems to question how we use our freedom and our liberty and into what we put our
energies.

What is the plot of "How much land does a man need?"

What is interesting about this story is that it appears to be more of a parable than a tale - it can be read as an allegory, though we always need to be careful when interpreting allegories. The tale begins when Pahom, a Russian peasant, overhears his wife and her sister having an argument over whether it is better to live in the country or the city. This leads Pahom to make the dangerous declaration that if he just had enough land, he would not even have to fear the Devil. Of course, the Devil hears this boast and decides to put this to the test and exploit the greed of Pahom. The story relates Pahom´s success in buying land, yet also his dissatisfaction. He is seen to treat the peasants as badly as he was once treated, and continues to buy more and more land, but it is never enough. One day, a travelling merchant tells Pahom about the Bashkir region, where very fertile ground can be purchased very cheaply. Pahom, led by greed, travels there with all his money - 1000 rubles. The Bashkirs agree to sell him for this sum as much money as he can pace off in a day, as long as he returns before the end of day to his starting point. Pahom walks far, trying to get as much land as possible, but in his rush to get back to the beginning he collapses and dies. He ends up with six feet of land - enough to bury him.

This masterful story thus deals with the central question - how much is enough for us, and what is the difference between what we need and what we want? Tolstoy was writing after serfs in Russia had been given their freedom, and although he didn´t want them to return to their oppressed state, his tale seems to question how we use our freedom and our liberty and into what we put our energies.

When in the poem "The Lady of Shalott" is figurative language used?

In "the Lady of Shalott," the poet uses figurative language, which includes, metaphors, and personification.

Metaphor: Suggests that the fields clothe the world. Not literally, but it creates a wonderful image. The lady is compared to a spider sitting in her web, with the ability to create images in a mirror.

"Long fields of barley and of rye,
That clothe the wold and meet the sky;' 

"But in her web she still delights
To weave the mirror's magic sights"

Personification: Attributing human qualities to a thing or idea.  Breezes can't shiver, people can.  But you get the idea.

"Little breezes dusk and shiver 

In among the bearded barley,

The broad stream in his banks complaining,"

Excerpts from "The Lady of Shalott" by Tennyson 
 

What does the name Jig mean in "Hills Like White Elephants" and why does he call her that?

The only mention of any name in the story is this name, Jig.  It is what the man of the relationship calls the woman of the relationship.  He uses it conversation in the following exchange:

'It's really an awfully simple operation, Jig,' the man said. 'It's not really an operation at all.'

The girl looked at the ground the table legs rested on.

'I know you wouldn't mind it, Jig. It's really not anything. It's just to let the air in.'

The purpose of the character using the name here is to call her attention.  The two have been discussing nonesense items such as the setting since the story began.  Here, the man is obviously trying to restart a discussion that they were having before, and to continue a small argument or disagreement.  Using her name is a way to keep her attention and reinforce the seriousness of the discussion.

Hemingway places the name here for a similar reason.  It is unexpected, for the two have simply been referred to by their gender before this point.  By inserting a name, Hemingway is getting the attention of his readers.

The name itself, Jig, would appear to be some sort of nickname, which implies to the readers that the two have been involved in a relationship for some time.  By using a nickname, Hemingway is able to indicate this familiarity and still keep the identities of his two characters vague.

Explain the attitude of this novel towards World War I and all wars. Do you agree or disagree with the author? Why or why not? The novel is All...

Though of course it is just my opinion, but Remarque was
commenting on the futility and the utterly back-breaking sadness of a war and its
ability to destroy an entire generation of youth from, in this case, Europe.  Her
attitude is likely that the entire operation is pointless, driven by people so far
outside of the actual combat that they can make decisions with millions of young men's
lives without considering them as real or in any way as affecting
them.

One of the reasons why I tend to agree with
Remarque's attitude is that the author was excoriated by the pro-Nazi movement in
Germany and all copies of the book were burned.  It was seen as a danger to the powers
that felt that war could be held up as a glorious enterprise and one that was worth
undertaking for whatever gains political or economic and damn the
casualties.

Explain the attitude of this novel towards World War I and all wars. Do you agree or disagree with the author? Why or why not? The novel is All...

Though of course it is just my opinion, but Remarque was commenting on the futility and the utterly back-breaking sadness of a war and its ability to destroy an entire generation of youth from, in this case, Europe.  Her attitude is likely that the entire operation is pointless, driven by people so far outside of the actual combat that they can make decisions with millions of young men's lives without considering them as real or in any way as affecting them.

One of the reasons why I tend to agree with Remarque's attitude is that the author was excoriated by the pro-Nazi movement in Germany and all copies of the book were burned.  It was seen as a danger to the powers that felt that war could be held up as a glorious enterprise and one that was worth undertaking for whatever gains political or economic and damn the casualties.

What does Clarisse say about front porches? Does our society have that mentality?

In Ray Bradbury's depiction of a futuristic, dystopian
society in which books, with the knowledge they contain, are outlawed because of the
threat they pose to social stability, the character of Clarisse represents the innocent
but inquisitive perspective, untainted by maturity and the responsibilities of
adulthood.  As Professor Faber and Captain Beatty point out to Montag, albeit from
vastly different perspectives, knowledge can be a dangerous thing.  The conveyance of
information unapproved or unsanctioned by the government has been made illegal or, at a
minimum, more difficult to conclude.  It is in this context that, late in Part I of
Fahrenheit 451, Bradbury has his protagonist, Montag,
reflect back on a conversation with Clarisse.  It was in that conversation that the
subject of front porches came up, about which the teenage girl told Montag the
following:

readability="17">

"My uncle says there used to be front porches.
And people sat there sometimes at night, talking when they wanted to talk, rocking, and
not talking when they didn't want to talk. Sometimes they just sat there and thought
about things, turned things over. My uncle says the architects got rid of the front
porches because they didn't look well. But my uncle says that was merely rationalizing
it; the real reason, hidden underneath, might be they didn't want people sitting like
that, doing nothing, rocking, talking; that was the wrong kind of social life. People
talked too much. And they had time to think. So they ran off with the
porches."

Just as books
threaten regime stability because of the knowledge they contain, routine conversation
between citizens is considered potentially subversive because of the thoughts and plans
that could coalesce as a result of such conversations.  If eliminating front porches
made it less likely for people to sit around and talk, they were less likely to conspire
or to question authority.

What does Clarisse say about front porches? Does our society have that mentality?

In Ray Bradbury's depiction of a futuristic, dystopian society in which books, with the knowledge they contain, are outlawed because of the threat they pose to social stability, the character of Clarisse represents the innocent but inquisitive perspective, untainted by maturity and the responsibilities of adulthood.  As Professor Faber and Captain Beatty point out to Montag, albeit from vastly different perspectives, knowledge can be a dangerous thing.  The conveyance of information unapproved or unsanctioned by the government has been made illegal or, at a minimum, more difficult to conclude.  It is in this context that, late in Part I of Fahrenheit 451, Bradbury has his protagonist, Montag, reflect back on a conversation with Clarisse.  It was in that conversation that the subject of front porches came up, about which the teenage girl told Montag the following:

"My uncle says there used to be front porches. And people sat there sometimes at night, talking when they wanted to talk, rocking, and not talking when they didn't want to talk. Sometimes they just sat there and thought about things, turned things over. My uncle says the architects got rid of the front porches because they didn't look well. But my uncle says that was merely rationalizing it; the real reason, hidden underneath, might be they didn't want people sitting like that, doing nothing, rocking, talking; that was the wrong kind of social life. People talked too much. And they had time to think. So they ran off with the porches."

Just as books threaten regime stability because of the knowledge they contain, routine conversation between citizens is considered potentially subversive because of the thoughts and plans that could coalesce as a result of such conversations.  If eliminating front porches made it less likely for people to sit around and talk, they were less likely to conspire or to question authority.

In Act I, scene 1, of Hamlet, what exposition is provided in the scene? Include an explanation of the quarrel with Norway.

Act 1.1 of Shakespeare's Hamlet, is
packed with information and exposition.

We learn guards are
on duty, we learn their names as well as the name of Horatio, who is trusted enough to
be brought along for verification purposes.  We learn that he is a "scholar."  We learn
that it is midnight and very cold. 

We learn that they are
in Denmark, and we learn that these same guards have seen a ghost two nights in a row,
but that Horatio doesn't believe their ghost story--until he sees the Ghost
himself.

When the Ghost appears, we learn that he seems to
look like the dead King Hamlet. 

Concerning the Fortinbras
situation, we learn that the guards are on duty primarily because of the threat of
Fortinbras.  Fortinbras' father, then the king of Norway, lost lands to King Hamlet when
he was killed during a battle with Denmark.  Fortinbras is now threatening to take these
lands back. 

Horatio and the guards suspect that the
appearance of the Ghost suggests that trouble with Fortinbras is coming. 
 

In Act I, scene 1, of Hamlet, what exposition is provided in the scene? Include an explanation of the quarrel with Norway.

Act 1.1 of Shakespeare's Hamlet, is packed with information and exposition.

We learn guards are on duty, we learn their names as well as the name of Horatio, who is trusted enough to be brought along for verification purposes.  We learn that he is a "scholar."  We learn that it is midnight and very cold. 

We learn that they are in Denmark, and we learn that these same guards have seen a ghost two nights in a row, but that Horatio doesn't believe their ghost story--until he sees the Ghost himself.

When the Ghost appears, we learn that he seems to look like the dead King Hamlet. 

Concerning the Fortinbras situation, we learn that the guards are on duty primarily because of the threat of Fortinbras.  Fortinbras' father, then the king of Norway, lost lands to King Hamlet when he was killed during a battle with Denmark.  Fortinbras is now threatening to take these lands back. 

Horatio and the guards suspect that the appearance of the Ghost suggests that trouble with Fortinbras is coming.   

Describe the figure of speech in the line:- 'Sleep that knits up the ravell'd sleeve of care'

In addition to the other editors' posts about
personification, Macbeth's quote in Act II, scene ii of
Macbeth is a metaphor (an analogy), and it is filled with two types
of imagery.

Metaphor /
Analogy: Translated, it means, "sleep that straightens out the tangled
coil of worry."  Macbeth and his wife have murdered Duncan and sleep, so Macbeth is
comparing the act of sleep to to the act of unravelling.  Sleep unravels worry the same
way a weaver unravels thread.  He will not sleep for the rest of the play; instead, he
will forever worry and be paranoid that someone or something supernatural will discover
his crime.

Imagery: the line
contains two types of imagery: "sleep" and "clothing."  The leitmotif of sleep runs
throughout the play.  The lack of sleep is a result of guilt, and it will drive both
Macbeth and Lady Macbeth crazy by the end of the
play.

Macbeth is also full of clothing
imagery: "borrowed robes," the "crown," and "the sleeve."  These images underscore the
domestic and gender differences between the couple.  Ironically, Macbeth makes an
analogy here about a feminine domestic duty (sewing).

Describe the figure of speech in the line:- 'Sleep that knits up the ravell'd sleeve of care'

In addition to the other editors' posts about personification, Macbeth's quote in Act II, scene ii of Macbeth is a metaphor (an analogy), and it is filled with two types of imagery.

Metaphor / Analogy: Translated, it means, "sleep that straightens out the tangled coil of worry."  Macbeth and his wife have murdered Duncan and sleep, so Macbeth is comparing the act of sleep to to the act of unravelling.  Sleep unravels worry the same way a weaver unravels thread.  He will not sleep for the rest of the play; instead, he will forever worry and be paranoid that someone or something supernatural will discover his crime.

Imagery: the line contains two types of imagery: "sleep" and "clothing."  The leitmotif of sleep runs throughout the play.  The lack of sleep is a result of guilt, and it will drive both Macbeth and Lady Macbeth crazy by the end of the play.

Macbeth is also full of clothing imagery: "borrowed robes," the "crown," and "the sleeve."  These images underscore the domestic and gender differences between the couple.  Ironically, Macbeth makes an analogy here about a feminine domestic duty (sewing).

Why does Ralph call an assembly? How do the boys react?Is the bond of friendship between ralph and jack is disappearing? Why?

Ralph calls an assembly to set things straight.  While
Jack and the hunters have been victorious in killing their first pig, Ralph and Piggy
have suffered a major disappointment when a ship passed by, and there was no signal
fire.  Ralph, probably for the first time, realizes how much he wanted to be rescued.
 So, we have two groups emerging:  Jack's group that wants to hunt and have fun,
thinking only of the here and now; and Ralph's group that is concerned with shelters and
rescue.

Ralph's meeting is an attempt to establish rules
and procedures for survival and rescue. And Ralph cares very much about this meeting. He
plans out what he is going to say beforehand.  He even knows how he will make his
announcements.  In other words, Ralph assumes a true leadership role, acting as a leader
who is very much concerned about the welfare of the group.  Jack, of course, resents
Ralph's authority.  He does not care for Ralph's rule, and wants only to do what he
wants when he wants.  He still is interested in having fun on the island.  As Ralph
begins to respect Piggy's input more because he and Ralph have the same goals, Ralph
moves further away from Jack.

The boys listen to Ralph
initially.  But the meeting breaks up when Ralph allows them to discuss the beastie.  It
is the boys' fear that Ralph cannot control or allay.  Instead of quelling the boys'
fears, the discussion of the beastie only heightens them.  Jack's power on the island is
increased as the fear of the unknown increases.

Why does Ralph call an assembly? How do the boys react?Is the bond of friendship between ralph and jack is disappearing? Why?

Ralph calls an assembly to set things straight.  While Jack and the hunters have been victorious in killing their first pig, Ralph and Piggy have suffered a major disappointment when a ship passed by, and there was no signal fire.  Ralph, probably for the first time, realizes how much he wanted to be rescued.  So, we have two groups emerging:  Jack's group that wants to hunt and have fun, thinking only of the here and now; and Ralph's group that is concerned with shelters and rescue.

Ralph's meeting is an attempt to establish rules and procedures for survival and rescue. And Ralph cares very much about this meeting. He plans out what he is going to say beforehand.  He even knows how he will make his announcements.  In other words, Ralph assumes a true leadership role, acting as a leader who is very much concerned about the welfare of the group.  Jack, of course, resents Ralph's authority.  He does not care for Ralph's rule, and wants only to do what he wants when he wants.  He still is interested in having fun on the island.  As Ralph begins to respect Piggy's input more because he and Ralph have the same goals, Ralph moves further away from Jack.

The boys listen to Ralph initially.  But the meeting breaks up when Ralph allows them to discuss the beastie.  It is the boys' fear that Ralph cannot control or allay.  Instead of quelling the boys' fears, the discussion of the beastie only heightens them.  Jack's power on the island is increased as the fear of the unknown increases.

In "The Kite Runner," why do you think Amir recalls this memory when he witnesses Hassan's tragedy in the alleyway?

It is this central guilt that also keeps Amir from healing his relationship with his father, his roots, and himself.  He idolized his father with the eyes of a child.  His father tells him that the worst thing to do is to lie.  Amir feels that his father has been an honest man, unwilling to compromise even in the face of death as illustrated in the confrontation with the Soviet soldiers on their journey out of Afghanistan.  However, he keeps this secret, and later on realizes that he has been a coward not only to a friend, but to a brother, and in essence has betrayed his father by betraying his father's son.  It is necessary as a literary vehicle, because it becomes the impetus and driving force for his return to Afghanistan and his quest to bring home his nephew, Hassan's son.  Amir holds fast to the guilt and this act of cowardice in his past in order to anchor him to his commitment of the rescue of the child from the same blue-eyed villain who assaulted his brother, Hassan.

Discuss Gatsby's five years as Cody's associate. Include his creation of a new persona.

Young James Gatz knew as a boy that he wanted a life
different from the one his parents had.  The inscriptions written in the book his
father, Henry, brought to Jay's home after Jay died proved that.  When the teenaged
James Gatz saw the luxurious yacht anchored in the lake, he knew that the yacht
represented what he wanted in life.  When Dan Cody asked James his name as he thanked
him for the advice to avoid anchoring where he was, James Gatz responded, "Jay Gatsby". 
It was at that moment that James Gatz ceased to exist and Jay Gatsby was born.  Like a
young child has to be taught how to walk, talk, etc., Jay Gatsby had to learn how to be
Jay Gatsby, the wealthy, worldly man.  Dan Cody gave him a great deal of that
education.  Cody took Jay on his yacht as a general helper in all areas, including
taking care of him when he, Cody, got drunk and insensate.  During the five years that
Gatsby traveled around the continent with Cody, Gatsby learned how to act among the
wealthy people he wanted to emulate.  He was introduced to places he would have never
had the opportunity to visit without the help of someone like Cody and he was introduced
to people he would never have had the chance to meet without Cody.  He probably learned
things about business, both legal and illegal. He probably dealt with both scrupulous
and unscrupulous characters.  Cody gave Jay Gatsby the refinement to pull off being Jay
Gatsby, the worldly man of money - even before he had any money.  It is doubtful that
James Gatz would have ever had the ability to fool Daisy Fay into believing he was an
officer who came from a wealthy family the way Jay Gatsby did.  Another important lesson
Jay Gatsby learned from Dan Cody was to stay away from alcohol.  Gatsby undoubtedly saw
that alcohol caused Cody to use bad judgement from time to time.  Since Jay Gatsby made
his money dealing with mostly illegal situations, being alert at all times was
important, so that lesson from Cody had great value.  Finally, Jay learned from Dan Cody
that he great American dream of rags to riches was possible.  Cody made his fortune from
mining metals, but he wasn't born into money.  Jay saw that he, too, could attain that
dream if he worked at it.

Discuss Gatsby's five years as Cody's associate. Include his creation of a new persona.

Young James Gatz knew as a boy that he wanted a life different from the one his parents had.  The inscriptions written in the book his father, Henry, brought to Jay's home after Jay died proved that.  When the teenaged James Gatz saw the luxurious yacht anchored in the lake, he knew that the yacht represented what he wanted in life.  When Dan Cody asked James his name as he thanked him for the advice to avoid anchoring where he was, James Gatz responded, "Jay Gatsby".  It was at that moment that James Gatz ceased to exist and Jay Gatsby was born.  Like a young child has to be taught how to walk, talk, etc., Jay Gatsby had to learn how to be Jay Gatsby, the wealthy, worldly man.  Dan Cody gave him a great deal of that education.  Cody took Jay on his yacht as a general helper in all areas, including taking care of him when he, Cody, got drunk and insensate.  During the five years that Gatsby traveled around the continent with Cody, Gatsby learned how to act among the wealthy people he wanted to emulate.  He was introduced to places he would have never had the opportunity to visit without the help of someone like Cody and he was introduced to people he would never have had the chance to meet without Cody.  He probably learned things about business, both legal and illegal. He probably dealt with both scrupulous and unscrupulous characters.  Cody gave Jay Gatsby the refinement to pull off being Jay Gatsby, the worldly man of money - even before he had any money.  It is doubtful that James Gatz would have ever had the ability to fool Daisy Fay into believing he was an officer who came from a wealthy family the way Jay Gatsby did.  Another important lesson Jay Gatsby learned from Dan Cody was to stay away from alcohol.  Gatsby undoubtedly saw that alcohol caused Cody to use bad judgement from time to time.  Since Jay Gatsby made his money dealing with mostly illegal situations, being alert at all times was important, so that lesson from Cody had great value.  Finally, Jay learned from Dan Cody that he great American dream of rags to riches was possible.  Cody made his fortune from mining metals, but he wasn't born into money.  Jay saw that he, too, could attain that dream if he worked at it.

In Shakespeare's Julius Caesar, what does "Thus did Mark Anthony bid me fall down" signify?

Directly after the assassination of Julius
Caesar in Act 3, Scene 1, Mark Antony flees to his house to save his own
life. But he realizes that he is not safe anywhere if the conspirators have decided to
kill him too. He has no idea how many people they intend to slaughter, but he believes
that all close friends of Caesar must be in extreme jeopardy, and he is the closest
friend of all. It was he who offered Caesar the symbolic crown, showing that he intended
to help his friend become the supreme monarch of the Roman
Empire.

Antony decides that he must present himself before
the triumphant conspirators and try to convince them that he is no threat to their
proposed new political order. But he thinks it prudent to send a messenger first, and he
instructs the Servant exactly how to act and what to say. He also tells the Servant to
appeal directly to Brutus because he believes that Brutus is an honorable man, that he
is the de facto leader of the conspiracy, and that he can be
trusted to keep his word if he gives the Servant assurance of Antony's safety. Perhaps
Antony senses that the co-leader of the conspirators, Cassius, wants to have him killed.
At least he understands that Cassius would be much harder to fool than the idealistic,
scholarly, unworldly Brutus.

The Servant approaches and,
acting on Antony's instructions, kneels before Brutus and then falls prostrate--i.e.
face down--while he delivers Antony's message. This is dramatically effective. What is
happening is that Antony himself is symbolically falling prostrate, although he could
not bring himself to do such a thing in person regardless of the danger he was
in.

Thus,
Brutus, did my master bid me kneel:
Thus did Mark Antony bid me fall
down;
And, being prostrate, thus he bade me say:
Brutus is noble,
wise, valiant, and honest;
Caesar was mighty, bold, royal, and
loving:
Say I love Brutus, and I honour him;
Say I fear'd Caesar,
honour'd him and loved him.
If Brutus will vouchsafe that Antony
May
safely come to him, and be resolved
How Caesar hath deserved to lie in
death,
Mark Antony shall not love Caesar dead
So well as Brutus
living; but will follow
The fortunes and affairs of noble
Brutus
Through the hazards of this untrod state
With all true faith.
So says my master
Antony.

Brutus has many noble
qualities, but he repeatedly shows himself to be as much of an egotist as Julius Caesar.
When Brutus addresses the mob he speaks mainly about himself and his honorable motives.
He is flattered to have this messenger groveling before him, as Antony fully expected he
would be, and also flattered to be addressed as the sole leader and sole decision-maker
of his faction. Brutus is easily persuaded to guarantee Antony's safety. His response
is:

Thy
master is a wise and valiant Roman;
I never thought him worse.
Tell
him, so please him come unto this place,
He shall be satisfied; and, by my
honour,
Depart
untouch'd.

Antony does not
ask to be allowed to speak at Caesar's funeral until he appears in person and shakes
hands with all the conspirators. He fully intends to try to turn the Roman people
against the men who murdered his friend, but he has to proceed with extreme caution.
Cassius wanted to have him killed, but Brutus overruled him. Cassius advises Brutus that
it could be disastrous to let Antony address the assembled mob, but once again Brutus
overrules him. Cassius wanted Brutus to be a figurehead, but he is learning that Brutus
is impossible to control now that he has tasted political power.

In Shakespeare's Julius Caesar, what does "Thus did Mark Anthony bid me fall down" signify?

Directly after the assassination of Julius Caesar in Act 3, Scene 1, Mark Antony flees to his house to save his own life. But he realizes that he is not safe anywhere if the conspirators have decided to kill him too. He has no idea how many people they intend to slaughter, but he believes that all close friends of Caesar must be in extreme jeopardy, and he is the closest friend of all. It was he who offered Caesar the symbolic crown, showing that he intended to help his friend become the supreme monarch of the Roman Empire.

Antony decides that he must present himself before the triumphant conspirators and try to convince them that he is no threat to their proposed new political order. But he thinks it prudent to send a messenger first, and he instructs the Servant exactly how to act and what to say. He also tells the Servant to appeal directly to Brutus because he believes that Brutus is an honorable man, that he is the de facto leader of the conspiracy, and that he can be trusted to keep his word if he gives the Servant assurance of Antony's safety. Perhaps Antony senses that the co-leader of the conspirators, Cassius, wants to have him killed. At least he understands that Cassius would be much harder to fool than the idealistic, scholarly, unworldly Brutus.

The Servant approaches and, acting on Antony's instructions, kneels before Brutus and then falls prostrate--i.e. face down--while he delivers Antony's message. This is dramatically effective. What is happening is that Antony himself is symbolically falling prostrate, although he could not bring himself to do such a thing in person regardless of the danger he was in.

Thus, Brutus, did my master bid me kneel:
Thus did Mark Antony bid me fall down;
And, being prostrate, thus he bade me say:
Brutus is noble, wise, valiant, and honest;
Caesar was mighty, bold, royal, and loving:
Say I love Brutus, and I honour him;
Say I fear'd Caesar, honour'd him and loved him.
If Brutus will vouchsafe that Antony
May safely come to him, and be resolved
How Caesar hath deserved to lie in death,
Mark Antony shall not love Caesar dead
So well as Brutus living; but will follow
The fortunes and affairs of noble Brutus
Through the hazards of this untrod state
With all true faith. So says my master Antony.

Brutus has many noble qualities, but he repeatedly shows himself to be as much of an egotist as Julius Caesar. When Brutus addresses the mob he speaks mainly about himself and his honorable motives. He is flattered to have this messenger groveling before him, as Antony fully expected he would be, and also flattered to be addressed as the sole leader and sole decision-maker of his faction. Brutus is easily persuaded to guarantee Antony's safety. His response is:

Thy master is a wise and valiant Roman;
I never thought him worse.
Tell him, so please him come unto this place,
He shall be satisfied; and, by my honour,
Depart untouch'd.

Antony does not ask to be allowed to speak at Caesar's funeral until he appears in person and shakes hands with all the conspirators. He fully intends to try to turn the Roman people against the men who murdered his friend, but he has to proceed with extreme caution. Cassius wanted to have him killed, but Brutus overruled him. Cassius advises Brutus that it could be disastrous to let Antony address the assembled mob, but once again Brutus overrules him. Cassius wanted Brutus to be a figurehead, but he is learning that Brutus is impossible to control now that he has tasted political power.

Explain the following quote from Into the Wild."How is it that a kid with so much compassion can cause his parents so much pain?" (104)

Chris McCandless was an idealist who "took life's inequities to heart".  During his senior year in high school, he became very concerned with racial oppression in South Africa, and spoke about becoming active in the struggle to end apartheid.  He was also touched by the plight of the homeless in America, and would spend weekends wandering "the seedier quarters of Washington, chatting with prostitutes and homeless people, buying them meals, earnestly suggesting ways they might improve their lives".  He once took in a homeless man and secretly let him stay in his parents' trailer, and would often spend his weekends ministering to the destitute who lived on the street while others his age were partying.

Walt McCandless knew these things about his son, and marveled at how compassionate he could be.  Chris wanted to give of himself to the whole world, yet his sympathy did not extend to his parents, towards whom he was constantly rebellious, vehemently critical, and coldly unaccepting.  Walt remembered the endless hurt and rejection he experienced as a result of Chris's bitter attitude towards his parents, and wondered how a child who was so capable of empathizing with others and giving to them could be so callous when it came to those who were his own flesh and blood (Chapter 11).

lim x->infinity ((sqrt(x^2+5))-(sqrt(x^2+3)))

An alternate proof using sandwich concept:

To find Limitx->infinity {sqrt(x^2+5)-sqrt(x^2+3)}

Let us look at what is sqrt(x^2+5)-sqrt(x^2+3). Let it be called f(x). Let us rationalise the numerator , by writing in numerator and denominator form.

We see that f(x) > 0 for all x , as the square root of greater positive number is greater than that of a smaller positive number.

f(x)={sqrt(x^2+5)-sqrt(x^2+3)} {sqrt(x^2+5)+{sqrt(x^2+3)}/{sqrt(x^2+5)+sqrt(x^2+3)}

={(x^2+5)-(x^2+3)}/{sqrt(x^2+5)+sqrt(x^2+3)}

=2/{sqr(x^2+5)+sqrt(x^2+3)}  <  2/(2x) = 1/x.

Now taking the limits,

Lim x-> infinity f(x) < lim x->infinity (1/x )=0

but f(x)>0 for all x.

Thus 0<f(x)<0. f(x) is sandwiching between zero below and a zero aprroaching value from above as x approaches infininty. Therefore, Lim x->infinity f(x) = 0

Therefore, Limit x->infinity {sqrt(x^2+5)-sqrt(x^2+3)} = 0.

Is this helpful ?

Why does the Playboy appeal to you?

Ultimately, how you answer this question is up to you. 
What do you like about Mahon?  What about him makes you identify with him?  Does he make
you laugh?  Cry?  Does he help you recognize something about yourself or others you
know? 

Is his willingness to accept credit for a morbid
deed, then his cowardice when his father shows up, comparable to your experience in the
world?  Is this an accurate critique of machismo and morbidity, not only in the
character of the Playboy, but also in the townspeople, as
well?

Personally, I love the play much more than the
character of the Playboy, himself.  I see his representation as a critique of society. 
But that may be completely different for you. 

Why does the Playboy appeal to you?

Ultimately, how you answer this question is up to you.  What do you like about Mahon?  What about him makes you identify with him?  Does he make you laugh?  Cry?  Does he help you recognize something about yourself or others you know? 

Is his willingness to accept credit for a morbid deed, then his cowardice when his father shows up, comparable to your experience in the world?  Is this an accurate critique of machismo and morbidity, not only in the character of the Playboy, but also in the townspeople, as well?

Personally, I love the play much more than the character of the Playboy, himself.  I see his representation as a critique of society.  But that may be completely different for you. 

In many ways, Lennie was too good to survive in our world. How does the world destroy the innocent among us?

I think Lennie is the perfect example of how the world
destroys the innocent among us. Look at what Lennie had to do to adapt. He had to keep
his mouth shut for fear his employers wouldn't want him, despite the fact that
physically he was ideal for the job.

Our society moves so
quickly and people in it are so jaded that they are skeptical of anyone who does things
for purely innocent or altruistic reasons. Even today, someone like Lennie would be hard
pressed to function on his own. He would still need someone like George to be his buffer
to the people around him.

Everyone is skeptical of people
who are innocent. We are so used to expecting that everyone is out for him/herself and
we can't believe that someone can be as innocent as he/she seems. We want results, we
want to be successful, we want to be rich. Those things aren't a result of being
innocent. To get ahead in society, as most people see it, you have to be willing to do
anything, walk over anyone.

Those people walked over and
taken advantage of are often the innocent. They are tricked, cheated, hurt, forgotten in
the modern quest for success.

In many ways, Lennie was too good to survive in our world. How does the world destroy the innocent among us?

I think Lennie is the perfect example of how the world destroys the innocent among us. Look at what Lennie had to do to adapt. He had to keep his mouth shut for fear his employers wouldn't want him, despite the fact that physically he was ideal for the job.

Our society moves so quickly and people in it are so jaded that they are skeptical of anyone who does things for purely innocent or altruistic reasons. Even today, someone like Lennie would be hard pressed to function on his own. He would still need someone like George to be his buffer to the people around him.

Everyone is skeptical of people who are innocent. We are so used to expecting that everyone is out for him/herself and we can't believe that someone can be as innocent as he/she seems. We want results, we want to be successful, we want to be rich. Those things aren't a result of being innocent. To get ahead in society, as most people see it, you have to be willing to do anything, walk over anyone.

Those people walked over and taken advantage of are often the innocent. They are tricked, cheated, hurt, forgotten in the modern quest for success.

What juxtapositions show how theme is developed in Lord of the Flies?

The juxtaposition of Ralph and Jack is the clearest example of the theme.  Ralph represents civility and Jack represent savagery.  Putting these two characters against one another on the island in the constant struggle for authority and leadership is one way Golding brought out the theme of man's inherent evil nature.  The reader sees how the lack of civilization and its rules brought out the savage in Jack, and subsequently, his followers. Other characters are juxatposed too: on Ralph's side there are Piggy and Simon, both symbolic of the intellect, those who think things through before coming to a conclusion or acting; on Jack's side there are Maurice and Roger, both symbolic of the follower who does not think, but of those who just act.  Another example of the theme through setting items in contrast to one another is fire.  In chapter two, fire gets out of control and becomes savage, killing one of the children.  It shows what can happen when there are no restraints, which is what Golding says happens to people without society's constraints.  Later, the fire is tended and it becomes the symbol of civilization as the boys use it as a signal fire in their attempts to get rescued.

What is the conflict in the story "The Ambitious Guest"?

Conflict: Security vs. Unknown

Conflict: Complacency vs. Ambition

Conflict: Fate vs. Choice 

The cottage itself poses a conflict, it represents security vs. the unknown. The family is never quite sure whether their house will remain secure in its position.  It sits at the base of a mountain where rocks and stones tumble towards it constantly.   

The family lives a complacent, quiet, life in the cottage as compared to the stranger, the guest, who seeks adventure and challenge.  The guest's attitude regarding how one should live life, and the attitudes of the family members are opposite from each other. 

The ultimate conflict is whether we control our fate or destiny, or is there really an element of choice involved in when death occurs.  When the family must decide whether they should remain in the small house once the storm begins to intensify and they hear sounds of the mountain collapsing, are they choosing their own destiny or was it fate. 

Influenced by the talk of the ambitious guest, the family chooses to flee the cottage and end up getting hit by the crumbling mountain, while the cottage remains untouched by the disaster.

Why do Tom and Joe run away, what do they take with them, where do they run, and why do they begin to feel guilty?

Tom decides to run away "to escape from hard usage and lack of sympathy at home".  He has been downhearted because of the murder he witnessed, and because Becky Thatcher has not been at school, and his Aunt, thinking he has been sick, has unsympathetically been making him take some nasty "Painkiller".  Then, when Becky returns to school, she first ignores Tom then treats him with disdain.  Tom is running away to get back at them.

Joe is running away for similar reasons.  His mother has whipped him for something he says he didn't do, and he is angry.  Tom and Joe decide to become pirates, and invite Huck Finn along.  They will meet on the riverbank two miles above the village, take a raft, and row over to Jackson Island on the Mississippi.  Each boy will bring hooks and lines, and whatever he can steal.  Tom brings a boiled ham and "a few trifles", Joe brings a side of bacon, and Huck brings a skillet, some leaf tobacco, and corncobs with which to make pipes.  As the boys, having settled on the island, fall asleep, Tom and Joe begin to feel guilty about running away, and about stealing the meat and other things (Chapter 13).

What are the major themes of "The Bloody Chamber" by Angela Carter.

There are some pretty powerful themes in the story, and
they are made pretty clear in the summary below.  The coming of age theme is one that
winds its way through all different places in the story and connects clearly to that of
sex and added responsibility.  As she goes to the castle, the journey might be
considered a symbol of that transition, but it also starts the entire set of actions
that drive her coming of age.  The consumation of her marriage which starts her
curiosity about sex and her use of the various roles of sex in her life continues to
drive that theme of coming of age.  It also begins to show the fact that she is not
entirely innocent as she begins to delve into things that aren't considered appropriate,
etc.

What are the major themes of "The Bloody Chamber" by Angela Carter.

There are some pretty powerful themes in the story, and they are made pretty clear in the summary below.  The coming of age theme is one that winds its way through all different places in the story and connects clearly to that of sex and added responsibility.  As she goes to the castle, the journey might be considered a symbol of that transition, but it also starts the entire set of actions that drive her coming of age.  The consumation of her marriage which starts her curiosity about sex and her use of the various roles of sex in her life continues to drive that theme of coming of age.  It also begins to show the fact that she is not entirely innocent as she begins to delve into things that aren't considered appropriate, etc.

Identify Bernice, Marty and Laverne in The Catcher in the Rye.

J. D. Salinger’s Catcher in the Rye tells the story of Holden Caulfield, a well-to-do yet troubled high school student who is in the process of psychologically and emotionally unraveling. As he makes his way home from Pencey (an exclusive prep school) he worries about his parents’ reaction to his expulsion from school.

In chapter ten, Holden has arrived in New York and checked into a hotel. He is bored and stressed and decides to go to the hotel’s lounge, a place called the Lavender Room. The scene that follows characterizes Holden as desperate for attention and acceptance, while at the same time cruelly critical of others.

Upon entering the lounge, he sees three women: Marty, Bernice, and Laverne. His descriptions of the girls, who are really women, show how unkind Holden can be toward others:

At the table right next to me, there were these three girls around thirty or so. The whole three of them were pretty ugly. . .

and then a little later:

I started giving the three witches at the next table the eye again.

Despite his low opinion of the women, he pursues them relentlessly, eventually dancing with all three. After dancing with Bernice, who impresses Holden with her dancing ability, Holden tells the reader:

I was half in love with her by the time we sat down. That’s the thing about girls. Every time they do something pretty, even if they’re not much to look at, or even if they’re sort of stupid, you fall in love with them . . .

When the girls finally leave the lounge, Holden is disappointed and lonely.

This scene, like many others in Catcher in the Rye, shows how unstable Holden is. One moment he is insulting the women sitting next to him, and the next he is “half in love” with one of them. Holden will continue to struggle with his aberrant and unpredictable behavior until the end of the novel, when he is hospitalized.

How are Holden (from Catcher in the rye) and Hamlet different and in what ways are they similar?I need at least 3 differences or 3 similarities....

Both of them are wracked with guilt and sadness about the
death of a loved one, particularly a death that wasn't natural or expected.  Hamlet of
course is grieving for his father, Hamlet Sr. and Holden is clearly unable to move on
from his little brother Allie who died of leukemia.

Both
characters also communicate with the dead in a way.  Hamlet meets his father's ghost and
from him learns that he was murdered and that Claudius is the guilty party, while Holden
throughout the novel talks with and about Allie and it is clear that they are best
friends, in many ways Holden still believes he is around and
alive.

Another similarity would be their seeming alienation
from the society which surrounds them.  No one really seems to get Hamlet, they think he
is mad, so too with Holden.  Of course they have their moments and those they allow to
start to get close, but they also have the habit of pushing people away and not allowing
anyone to really be intimate with them.

How are Holden (from Catcher in the rye) and Hamlet different and in what ways are they similar?I need at least 3 differences or 3 similarities....

Both of them are wracked with guilt and sadness about the death of a loved one, particularly a death that wasn't natural or expected.  Hamlet of course is grieving for his father, Hamlet Sr. and Holden is clearly unable to move on from his little brother Allie who died of leukemia.

Both characters also communicate with the dead in a way.  Hamlet meets his father's ghost and from him learns that he was murdered and that Claudius is the guilty party, while Holden throughout the novel talks with and about Allie and it is clear that they are best friends, in many ways Holden still believes he is around and alive.

Another similarity would be their seeming alienation from the society which surrounds them.  No one really seems to get Hamlet, they think he is mad, so too with Holden.  Of course they have their moments and those they allow to start to get close, but they also have the habit of pushing people away and not allowing anyone to really be intimate with them.

What vice [character flaw] gets Odysseus into trouble?

Odysseus' ego is what really gets him into trouble.  After blinding the Cyclops, Polyphemus, Odysseus could have made a clean get-away without anyone except the crew to know who had blinded him.  Odysseus had told the Cyclops that his name was "Nobody", so that when the Cyclops was screaming in pain that Nobody blinded him, those who heard his cries went away.  But Odysseus, being the arrogant man that he is, wants to make sure that Polyphemus knows who stuck the stick in his eye, so he shouts his name and address from the safety of his ship as he passes by.  Since Polyphemus had been told by a prophet that a man named Odysseus would someday blind him, but that he could be healed, Polyphemus was not angry.  He even invited Odysseus to come back.  Odysseus, in his arrogant manner, said that if he came back, he'd do more than just blind the Cyclops.  Now this is what made Polyphemus mad and led him to ask for his father Poseidon's help in cursing Odysseus, thus forshadowing all the rest of the obstacles Odysseus had to overcome in order to get home.

It says: Write a five paragraph essay, with proper introduction and conclusion showing how the theme of Peter Pan is developed through characters...

The best way to get started with this prompt is to
identify the theme you want to explore and then the specific three characters and/or
character relationships you believe support your interpretation of the
theme.

From there, the simplest organization of your essay
is fairly straight-forward:

Paragraph 1 --
Introduction

Paragraph 2 -- Character (or character
relationship) A

Paragraph 3 -- Character (or character
relationship) B

Paragraph 4 -- Character (or character
relationship) C

Paragraph 5 --
Conclusion

In paragraphs two through four, you will
describe how this theme is developed because of this character (or relationship) using
specific examples (and I assume quotations) from the
book.

My advice would be to begin writing these paragraphs
first, and once they are drafted, come back to draft your introduction and
conclusion.

It says: Write a five paragraph essay, with proper introduction and conclusion showing how the theme of Peter Pan is developed through characters...

The best way to get started with this prompt is to identify the theme you want to explore and then the specific three characters and/or character relationships you believe support your interpretation of the theme.

From there, the simplest organization of your essay is fairly straight-forward:

Paragraph 1 -- Introduction

Paragraph 2 -- Character (or character relationship) A

Paragraph 3 -- Character (or character relationship) B

Paragraph 4 -- Character (or character relationship) C

Paragraph 5 -- Conclusion

In paragraphs two through four, you will describe how this theme is developed because of this character (or relationship) using specific examples (and I assume quotations) from the book.

My advice would be to begin writing these paragraphs first, and once they are drafted, come back to draft your introduction and conclusion.

What is CHEMOSYNTHESIS?

Chemosynthesis is the process of converting carbon in the form of carbon dioxide or methane into organic molecules, without sunlight present. Instead, methane can be used, or hydrogen sulfide as the energy source for this reaction to proceed. Certain bacteria can do this in the aphotic zone in the sea and in other extreme environments on Earth. In the ocean, hydrogen sulfide or ammonia can be used by bacteria to carry out chemosynthesis. Many chemosynthetic organisms can be found by hydrothermal vents, or where methane can be found within the Earth. In hydrogen sulfide chemosynthesis, carbon dioxide plus oxygen plus hydrogen sulfide forms sulfur, water and a carbohydrate. This carbohydrate contains chemical energy that can support a food chain in an extreme environment. Other organisms can consume these bacteria and an entire food chain not dependent on sunlight can take place.

What is "a spraddled silhouette" from "A Rose for Emily"?

You might be finding Faulkner's writing difficult because he does tend to use the southern dialect. Let's look at the word "spraddled" in context:

The Griersons held themselves a little too high for what they really were. None of the young men were quite good enough to Miss Emily and such. We had long thought of them as a tableau: Miss Emily a slender figure in white in the background, her father a spraddled silhouette in the foreground, his back to her and clutching a horsewhip, the two of them framed by the backflung front door.

Imagine the scene: Emily is standing behind her father, who is sitting in a chair on the front porch, whip in hand. Think of "spraddle" as a combination of "sprawl" and "straddle." To straddle a chair means to turn it around backwards and sit with the back facing you. To sprawl means to spread out. So we can see Emily's father straddling the chair, but sprawled out--not an imposing, stern, erect posture, but a relaxed pose.

I hope this helps!

What is the main character's conflict on "The Face on the Milk Carton"?

The main character Janie from Caroline B. Cooney's story "The Face on the Milk Carton" must deal with secrets that surface from Janie's childhood.  Janie was kidnapped as a child and then adopted by another family who did not know the child they adopted was kidnapped.  Years go by, Janie grows up in her adoptive parent's home very happily.  Then, she sees her face on the back of a mil carton where faces of children gone missing would appear. Essentially, Janie must deal with being pulled between two families that love her. When the truth comes out, Janie must go back to live with her biological parents even though her adoptive parents are the only family she has ever known. She must move to a new house, live with a new family and start a new school.  She must fight to understand who she really is now and what she really wants for her life.

Compare & contrast the Chinese folk song: WHAT PLANT IS NOT FADED? with WHERE HAVE ALL THE FLOWERS GONE? by Pete SeegerI also have to comment on...

These two works are plaintiff verses about war. Neither
one presents war in a positive light. Both focus on the plight of the soldier and both
illustrate how soldiers suffer - being taken away from their families, living in harsh
conditions, all in order to protect their countries.

readability="15">

What man is not taken
To defend the
four bounds?

What plant is not wilting?
What man
is not taken from his wife?

            (from The Book of
Songs)

Where have all the young men
gone?

Gone for soldiers every
one

              (from Seeger's
song)

Seeger's song is more
of a protest song against war. It is reminiscent of the Book of Ecclesiastes in the
Bible in the way it presents the cycle of life - where have the flowers gone, picked by
young girls; where have the young girls gone, married to young men; where have the young
men gone, gone for soldiers; where have the soldiers gone, to the grave. It illustrates
the futility of war when it asks the
question:

When will we ever
learn?

When will we ever
learn?

The Chinese folk song
does not really express this view, although it does express the harsh reality of the
life of a soldier:

readability="6">

Alas for us soldiers,
Neither by day
nor by night can we rest!