In what way is courage, in this case, something like a man with an empty gun?Atticus tells the children on the last page of Part 1 that he wants...

When Atticus shoots the mad dog, he is in complete control
of the situation. The dog has no chance against a marksman with a gun. Mrs. Dubose,
however, is like a person fighting her battle with an unloaded gun. She has no chance of
living a longer life, so she picks a slightly different battle that she can win:
overcoming her addiction to morphine before she dies. Atticus points out that real
courage is

readability="6">

"when you know you're licked before you begin but
you begin anyway and you see it through no matter
what."

In Atticus' view, it
took no courage to kill a defenseless dog. However, Mrs. Dubose showed real courage by
taking seeing through her battle to the end.

In what way is courage, in this case, something like a man with an empty gun?Atticus tells the children on the last page of Part 1 that he wants...

When Atticus shoots the mad dog, he is in complete control of the situation. The dog has no chance against a marksman with a gun. Mrs. Dubose, however, is like a person fighting her battle with an unloaded gun. She has no chance of living a longer life, so she picks a slightly different battle that she can win: overcoming her addiction to morphine before she dies. Atticus points out that real courage is

"when you know you're licked before you begin but you begin anyway and you see it through no matter what."

In Atticus' view, it took no courage to kill a defenseless dog. However, Mrs. Dubose showed real courage by taking seeing through her battle to the end.

How does Emilia react to Othello's initial suggestion of Desdemona's unfaithfulness in Act IV? How does Othello respond?

When Othello confronts Emilia in Act IV about Desdemona's unfaithfulness, he has already decided that his wife has been unfaithful.  Therefore, he seeks information, or evidence from Emilia about when and how often his wife has been unfaithful. He does not want to hear Emilia vouch for Desdemona's virtue and honesty with regard to her devotion to fidelity. 

She tells Othello: "if she [Desdemona] be not honest, chaste, and true, / There's no man happy; the purest of their wives / Is foul as slander" (if Desdemona is not honest, chaste and true, then no man is happy as even the purest of their wives must be as foul)", (Line 16).

Othello responds by calling Emilia a simple woman, someone who does not understand the complexity of his inquiry.  He then adds that Emilia is "a subtle whore, / A closet lock and key of villainous secrets;" yet a women who would kneel and pray since Othello explains that he has seen her do this (Lines 20-22).

What are Whitman's views on nature? How does he express them in "Song of Myself"?

I celebrate myself, and sing myself,
And what I assume you shall assume,
For every atom belonging to me as good belongs to you.

I loafe and invite my soul,
I lean and loafe at my ease observing a spear of summer grass.

My tongue, every atom of my blood, form'd from this soil, this air,
Born here of parents born here from parents the same, and their
parents the same,
I, now thirty-seven years old in perfect health begin,
Hoping to cease not till death.

Creeds and schools in abeyance,
Retiring back a while sufficed at what they are, but never forgotten,
I harbor for good or bad, I permit to speak at every hazard,
Nature without check with original energy.

Just from the first stanza of "Song of Myself" the reader can see that Whitman loves nature and loves being in nature.  In fact, he considers every creature (that's you and me) part of nature--all atoms intertwined and all part of the bigger picture.  Anything that interconnected is energizing, revitalizing, and serves to jazz you up on a daily basis. 

Whitman belongs to the group of poets who suscribe to the idea that no matter how poorly you're feeling or how bad your day has been, just take a walk in the cleansing air and enjoy nature in its element.  After that, you can't possibly continue to be down and depressed...the energy of nature will uplift you like a pep rally for your soul. 

What is The Giver's favorite memory?

Jonas asks the Giver for his favorite memory, but then quickly says that the Giver doesn't have to give it to him yet. The Giver, however, is happy to do so.  

Jonas immediately feels the joy from the memory. The memory includes a room with a fireplace, colored lights on a tree (which Jonas finds odd because the tree is inside the house), cooking food, laughter, and pets. Jonas also describes brightly colored packages on the floor and children opening them while parents and grandparents watch. He has never been exposed to the concept of a "grandparent" before, so the Giver explains this to him.  

At the end of the memory, the first word Jonas uses to describe it is warmth. He then adds that he felt family. After discussing grandparents with the Giver, Jonas asks what the emotion in the memory was, and the Giver tells him it was love.  Jonas expresses to the Giver that the family arrangement in the memory isn't very practical, but that he liked it and wishes that he lived that way.  He finally realizes that love involves risk, but he can't put his finger on exactly why.

The reader is left to assume that the memory the Giver shared with him was probably that of a Christmas because of the lights, family, and presents.

In chapter 5, what is significant about Klipspringer's song?

The song is all about people who have no money, but are extremely happy. The song sets the mood for the entire novel. Gatsby has spent so much of his time by trying to get enough money to get Daisy to love him. Daisy is extremely wealthy, but married to a man she doesn't love and who cheats on her. Gatsby and Daisy both have money and are both unhappy. The song is saying that it doesn't matter if we have money or not, we are just happy together. Gatsby knows that Daisy would never be happy without money, so he thought by getting rich, he could make Daisy happy. Daisy isn't happy, no matter who much money she has. She is a miserable woman and being wealthy doesn't change that fact.

The whole story is about Gatsby getting rich so he would be worthy of Daisy. He has now made it in life, he is rich and now has a chance to prove that to Daisy. In the end, however, we know that money can't make you happy, and it certainly can't make someone love you. Although both Gatsby and Daisy are wealthy, neither one of them is happy. 

How have athletes fine-tuned the physics and biomechanics involved in their event? How have athlete's bodies been sculpted and specialized to...

If you were to take a specific event and a specific
athlete, you can get some idea of the things it takes to specialize a body to accomplish
one specific task.

Let's take Kenenisa Bekele and the 10k
as an example.  He will likely start with a long period of what they call "base"
building in which he goes on very long and relatively relaxed runs.  He might be running
anywhere from 80-130 or more miles per week in this phase without too many harder
efforts.  He might be doing it at altitude as well.  This is mostly to build up the
amount of red blood cells and the ability of the body to process the oxygen in them and
transport them to the muscles effectively.

Then he will
begin to add in faster efforts.  These will help him be able to withstand the incredible
stresses on the body during a fast 10k.  He will work on his body's ability to cyle
lactic acid and to handle the physical pounding of running sub 4:30 miles for a 6.2 mile
race.

Of course he will also be racing, probably worrying
about what he eats, making sure to get lots of sleep, getting massage to work out his
muscles and make sure he stays loose, perhaps adding in some weight training or
flexibility exercises, but almost everything is geared towards simply covering a lot of
ground very quickly.

How have athletes fine-tuned the physics and biomechanics involved in their event? How have athlete's bodies been sculpted and specialized to...

If you were to take a specific event and a specific athlete, you can get some idea of the things it takes to specialize a body to accomplish one specific task.

Let's take Kenenisa Bekele and the 10k as an example.  He will likely start with a long period of what they call "base" building in which he goes on very long and relatively relaxed runs.  He might be running anywhere from 80-130 or more miles per week in this phase without too many harder efforts.  He might be doing it at altitude as well.  This is mostly to build up the amount of red blood cells and the ability of the body to process the oxygen in them and transport them to the muscles effectively.

Then he will begin to add in faster efforts.  These will help him be able to withstand the incredible stresses on the body during a fast 10k.  He will work on his body's ability to cyle lactic acid and to handle the physical pounding of running sub 4:30 miles for a 6.2 mile race.

Of course he will also be racing, probably worrying about what he eats, making sure to get lots of sleep, getting massage to work out his muscles and make sure he stays loose, perhaps adding in some weight training or flexibility exercises, but almost everything is geared towards simply covering a lot of ground very quickly.

What does Banquo say about the motives of the "instruments of darkness" in Shakespeare's Macbeth?

The "instruments of darkness" Banquo refers to are the witches who cross paths with Macbeth and Banquo after the men have played a major role in putting down the rebellion against Duncan, their king.  The witches promise Macbeth that he will be Thane of Cawdor and ultimately king, and that Banquo's descendents will be kings.  This prophecy plants the seed of ambition in Macbeth, who begins to experience inner turmoil as the idea of killing his king, and thus hastening the prophecy, takes shape.

Banquo, in contrast to Macbeth, is less inclined to believe the witches and to trust their intentions.  He voices his concern that the witches offer future glory, "tell us truths," only "to win us with honest trifles."  Unlike Macbeth, he fears that these evil beings' predictions may indeed come true, but only as a way of snaring those whom they intend eventually "to betray's / In deepest consequence."  Banquo sets himself apart from Macbeth here because he has the insight to see a trap in these prophecies. 

In a play where "fair is foul" and appearance cannot be taken for reality, Banquo seems instinctively to know that the witches are using the truth in order to lure Macbeth away from his conscience.  Their words will result in a deed so inconsistent with who Macbeth is at the beginning of the play that, after murdering Duncan, he will admit that he no longer knows himself.

To what degree is his father's observation about travelers true about Santiago in "The Alchemist"?

Santiago's father claims that any travelers that he has seen have all been more interested in the past than in the present.  They travel to a place and then begin to romanitcize about what it would be like to live there.  However, once they decide that travelling time is over, they return home the same people they were when they first arrived.  Santiago's father is of the opinion that only the rich can travel in that fashion.  Those in Santiago's family's position could only travel if they were shepherds.  This leads the boy to become a sheherd so that he could travel and see more of the world.  This attitude foreshadows the beginning of Santiago's travels, but the boy's experiences do not mirror his father's observations.  While Santiago DOES desire to stay in an area he has traveled to, it is not becasue he is infatuated with the history or culture; it is because he has made personal connections with people.  First, he stays with the crytal seller.  Later, he falls in love with, and eventually returns to, Fatima, a woman of the desert.

Camus shows the absurdity of watching films in Ch. 2 and 4. Explain the contradiction.

In The Stranger, Camus gives us an
absurd hero in Meursault who loves life,
hates death, and scorns the gods. He also loves swimming, sex, sleeping,
eating, smoking, and going to the movies--all life affirming
activities.  As such, Camus would rather his hero laugh at a movie rather
than cry at a funeral.  Movies celebrate life; funerals celebrate only
death.

Merusault's mother dies Wednesday or Thursday.  The
vigil is Friday, and Meursault meets Marie Saturday for a swim, movies, and sex (she
spends the night).  Together, they see a comedy starring Fernandel, a French actor.
 Marie notices Meursault's black tie, and she realizes that he is supposed to be in
"mourning."  She thinks it's a bit odd that he would want to swim, go to a comedy, and
have sex so soon after his mother's death.  Later, in Chapter 4, Meursault and Emmanuel
go to see two movies together during the work week
nights.

Movies are places where people come together to
view something as part of a cultural ritual.  Movies are not Camus' targets.
 Movies are used to juxtapose the other ritualistic places where people
gather to celebrate death: funerals, vigils, churches, courtrooms, and public executions
(all of the people in these places will judge and condemn Meursault later).
Movies are harmless compared to these institutions.  These places are
the "gods" that Camus says his absurd heroes should
scorn.

Camus is using the act of going to a film to show
that Meursault is not affected by his mother's death.  He can go to a funeral one day
and then see a comedy the next.  He does not reject casual relationships the week after
the funeral.  Is that so wrong?  Camus thinks not.

To laugh
when one should cry may look like a contradiction of emotions, and it may look like
Meursault is a cold, apathetic person.  Meursault rejects social expectations that limit
a person's freedom and love of life.  Society expects him to wear black, look sad, and
refuse entertainment and casual dates.  In effect, society expects Meursault to act like
he is dying.

Camus rejects this culture of death.  Why
can't he go to the movies and see comedy?  Why can't he go swimming?  Why can't he have
sex that night?  Who makes these silly cultural rules about the mourning
process?

At the end of the novel, Merusault, just before he
is to be executed, will say that no one has a right to cry over his mother's death.  
Merusault loves life: the water, the sun, girls in bathing suits, funny movies,
sleeping, eating, drinking.  All these acts are celebrations of life.  Wearing a black
tie and locking oneself in an apartment all week only celebrates the culture of death
that Camus' absurdism wants us to escape.

Camus shows the absurdity of watching films in Ch. 2 and 4. Explain the contradiction.

In The Stranger, Camus gives us an absurd hero in Meursault who loves life, hates death, and scorns the gods. He also loves swimming, sex, sleeping, eating, smoking, and going to the movies--all life affirming activities.  As such, Camus would rather his hero laugh at a movie rather than cry at a funeral.  Movies celebrate life; funerals celebrate only death.

Merusault's mother dies Wednesday or Thursday.  The vigil is Friday, and Meursault meets Marie Saturday for a swim, movies, and sex (she spends the night).  Together, they see a comedy starring Fernandel, a French actor.  Marie notices Meursault's black tie, and she realizes that he is supposed to be in "mourning."  She thinks it's a bit odd that he would want to swim, go to a comedy, and have sex so soon after his mother's death.  Later, in Chapter 4, Meursault and Emmanuel go to see two movies together during the work week nights.

Movies are places where people come together to view something as part of a cultural ritual.  Movies are not Camus' targets.  Movies are used to juxtapose the other ritualistic places where people gather to celebrate death: funerals, vigils, churches, courtrooms, and public executions (all of the people in these places will judge and condemn Meursault later). Movies are harmless compared to these institutions.  These places are the "gods" that Camus says his absurd heroes should scorn.

Camus is using the act of going to a film to show that Meursault is not affected by his mother's death.  He can go to a funeral one day and then see a comedy the next.  He does not reject casual relationships the week after the funeral.  Is that so wrong?  Camus thinks not.

To laugh when one should cry may look like a contradiction of emotions, and it may look like Meursault is a cold, apathetic person.  Meursault rejects social expectations that limit a person's freedom and love of life.  Society expects him to wear black, look sad, and refuse entertainment and casual dates.  In effect, society expects Meursault to act like he is dying.

Camus rejects this culture of death.  Why can't he go to the movies and see comedy?  Why can't he go swimming?  Why can't he have sex that night?  Who makes these silly cultural rules about the mourning process?

At the end of the novel, Merusault, just before he is to be executed, will say that no one has a right to cry over his mother's death.   Merusault loves life: the water, the sun, girls in bathing suits, funny movies, sleeping, eating, drinking.  All these acts are celebrations of life.  Wearing a black tie and locking oneself in an apartment all week only celebrates the culture of death that Camus' absurdism wants us to escape.

What is the tone of the "Dulce et Decorum Est"? How is it achieved?

The tone of Wilfred Owen's poem is ironic and horrific.  "Dulce et Decorum est pro para mia" is a Latin quotation by Horace, the great Roman poet.  It means, "It is sweet and becoming to die for one's country."

Owens begins disabusing the reader of this notion from the very first line.  The picture the speaker creates of the soldiers "Bent double, like old beggars sacks, / Knock-kneed, coughing like hags, we cursed through sludge" (1-2).  To this day, many young men and women are enchanted by romantic ideas of war, which has never been pretty in reality.

But World War I brought horrors never known and an enemy, mustard gas, that was unseen.  The speaker describes the frantic haste to don protective gear but the insidious cloud is fast moving.  He describes watching a fellow solider be overcome "under a green sea," the gas, under which "I saw him drowning" (14) Death by mustard gas was hideously painful:  this is why the man is "flound'ring like a man in fire or lime" (11). 

In death, the living watch the dying man's "gargling from the froth corrupted blood" (22).

Finally, the speaker realizes the "old lie."  It is not sweet or becoming to die in this way. 

How are planets classified?

There are quite a few different classifications for planets based on different factors. Important facts include size, mass, mineral or gas composition, and distance from other celestial bodies (by which some bodies officially become "moons" instead of "planets"). Rocky planets, such as Earth, are differentiated from gaseous planets, such as Jupiter, because of their composition; Jupiter has a rocky core but its major mass is its atmosphere, while Earth's atmosphere is a small part of its overall mass. Generally, planets are either rocky or gaseous, with some having a large combination of the two; there are no officially recognized classifications for a planet's habitability, or different atmospheric content.

Pluto, always considered a full planet, was recently downgraded to "dwarf planet" status because it has not fully cleared the space in its orbit; this decision continues to create controversy.

Businesses often make use of conditioning techniques in their commercials. Think of 5 specific examples of such advertising. Describe how the...

One specific commercial that you can look at the use of
conditioning in is the intel commercial linked below.  This commercial doesn't even
advertise a specific product and is using conditioning specifically to link a feeling to
the brand name.  Two examples of conditioning are the inclusion of a diverse group of
workers all dressed in relatively hip clothes, suggesting an image of hip young people
working for Intel and the color themes of light blue and white creating an atmosphere of
modernity, again meant to connect that feeling with the Intel
brand.

Businesses often make use of conditioning techniques in their commercials. Think of 5 specific examples of such advertising. Describe how the...

One specific commercial that you can look at the use of conditioning in is the intel commercial linked below.  This commercial doesn't even advertise a specific product and is using conditioning specifically to link a feeling to the brand name.  Two examples of conditioning are the inclusion of a diverse group of workers all dressed in relatively hip clothes, suggesting an image of hip young people working for Intel and the color themes of light blue and white creating an atmosphere of modernity, again meant to connect that feeling with the Intel brand.

Much Ado About Nothing: Is the book better, or movie? Why?

Much Ado about Nothing is meant to be
staged, not read or even seen as a movie.

Shakespeare wrote
his plays for the stage only.  He did not intend to collect the assigned roles and
publish them during his lifetime.  His actors did that
later.

Whereas the Kenneth Branagh movie is good, it is not
better than seeing a staged version of the play done by quality actors.  Shakespeare's
language is meant to be heard, and his actors give breadth and depth to the
words.

Not only this, but the movie version cuts up to 50%
of the original text.  So, a two-movie is about half the text of a two-hour play.  The
film substitutes image for word.  It focuses more on the Italian landscape than on the
words.  As such, it's distracting and too easy.

A play
keeps the verbal fireworks going better.  Benedick and Beatrice are funnier live than on
screen.  There's more audience participation, more
laugher.

Not only that, but the low comedy of dogberry and
his slapstick watchmen is funnier live too.  The visual schtick can only be appreciated
in the flesh.

So, the movie is not as good as reading it
because half of the lines are cut.  Better than both is the live version of the
full-length play.  The play's the thing.

Much Ado About Nothing: Is the book better, or movie? Why?

Much Ado about Nothing is meant to be staged, not read or even seen as a movie.

Shakespeare wrote his plays for the stage only.  He did not intend to collect the assigned roles and publish them during his lifetime.  His actors did that later.

Whereas the Kenneth Branagh movie is good, it is not better than seeing a staged version of the play done by quality actors.  Shakespeare's language is meant to be heard, and his actors give breadth and depth to the words.

Not only this, but the movie version cuts up to 50% of the original text.  So, a two-movie is about half the text of a two-hour play.  The film substitutes image for word.  It focuses more on the Italian landscape than on the words.  As such, it's distracting and too easy.

A play keeps the verbal fireworks going better.  Benedick and Beatrice are funnier live than on screen.  There's more audience participation, more laugher.

Not only that, but the low comedy of dogberry and his slapstick watchmen is funnier live too.  The visual schtick can only be appreciated in the flesh.

So, the movie is not as good as reading it because half of the lines are cut.  Better than both is the live version of the full-length play.  The play's the thing.

How does the short story "The Things They Carried" compare to "Greasy Lake"?

Both stories involve the maturation of the main characters.  The boys in "Lake" experience trauma and see the face of death and grow up as result - they no longer want to be "bad characters".  Lt. Cross goes through a similar growing up process, understanding through the death of his fellow soldier, that there are times when he must abandon his dreams and focus on his duty.

The unclear nature of morality is also similar.  In "Lake", it is clear at the start that the boys don't really want to cause trouble - they are just out for a good time.  However, readers could argue that their flippant attitude is immoral in itself, especially as it leads them to perform immoral acts.  The do become "bad characters", but by dawn they are repentent - leaving reader to question how they should be judged.  In "Carried", the characters are portrayed as average and, overall, good men.  However, as part of war, they commit heinous acts of violence.  So are they good?  Are they moral?

The point of view of the two stories is quite different, however.  In "Lake", the mature narrator is telling the story of his experience when he was younger.  In "Carried", the narrator is outside the story and is omniscient, giving the views of all the characters.  The first provides a more personal experience for the reader; the second, a more observatory experience, as if examining the situation like a scientist.

How does Tennyson use imagery (examples) in the poem, "The Lady of Shalott" to present the story? Visual and auditory imagery?How does the audience...

The speaker of Tennyson's "The Lady of Shalott" switches
back and forth between visual and auditory imagery to reveal the
story.

The poem opens with visual imagery of nature,
freedom, and movement (which is touch, actually, but the visual does dominate).  Around
Shalott, the willows are white (visual), the aspens quiver (touch), the waves in the
river run forever (sight and touch), by the island in the river (sight) (lines
10-18).

But in lines 28-36 auditory images predominate: 
the reapers "Hear a song that echoes cheerly (auditory).  This is how the lady is
known:  no one has seen her wave her hand, stand at the window, or knows her at
all.

Another switch from visual to auditory occurs in the
shift from lines 73-81 to lines 82-90.  In the first stanza Lancelot is described
visually:  he rides like a bow-shot, rides between the barley, his image dazzles into
her mirror, his armor shines like flames, as does his
shield.

In the next stanza, the imagery changes to
auditory:  the bridle bells ring merrily, his equipment belt holds a bugle, and even his
armor rings.

All this fascinates the Lady, but what
inspires her to actually break the curse and look out the casement or window, is
Lancelot's song:

readability="24">

He flashed into the crystal
mirror,

"Tirra lirra," by the
river

Sang Sir
Lancelot.

She left the web, she left the
loom,

She made three paces through the
room,

She saw the waterlily
bloom,

She saw the helmet and the
plume,

She looked down to Camelot. 
(106-113)

Imagery makes
abstract ideas more concrete.  With the visual and auditory imagery, Tennyson makes
concrete his ideas.  That helps the reader understand what he is revealing.  For one
example, the Lady first sees Lancelot blaze into her mirror, and then hears the ringing
of his bells and armor, followed by his song.  These images concretely reveal what makes
the Lady look out the window and break the curse.  The speaker could say that the Lady
sees Lancelot in her mirror, and hears him outside, and therefore goes to the window and
looks out.  But all that is abstract.  The images make it concrete. 
 

How does Tennyson use imagery (examples) in the poem, "The Lady of Shalott" to present the story? Visual and auditory imagery?How does the audience...

The speaker of Tennyson's "The Lady of Shalott" switches back and forth between visual and auditory imagery to reveal the story.

The poem opens with visual imagery of nature, freedom, and movement (which is touch, actually, but the visual does dominate).  Around Shalott, the willows are white (visual), the aspens quiver (touch), the waves in the river run forever (sight and touch), by the island in the river (sight) (lines 10-18).

But in lines 28-36 auditory images predominate:  the reapers "Hear a song that echoes cheerly (auditory).  This is how the lady is known:  no one has seen her wave her hand, stand at the window, or knows her at all.

Another switch from visual to auditory occurs in the shift from lines 73-81 to lines 82-90.  In the first stanza Lancelot is described visually:  he rides like a bow-shot, rides between the barley, his image dazzles into her mirror, his armor shines like flames, as does his shield.

In the next stanza, the imagery changes to auditory:  the bridle bells ring merrily, his equipment belt holds a bugle, and even his armor rings.

All this fascinates the Lady, but what inspires her to actually break the curse and look out the casement or window, is Lancelot's song:

He flashed into the crystal mirror,

"Tirra lirra," by the river

Sang Sir Lancelot.

She left the web, she left the loom,

She made three paces through the room,

She saw the waterlily bloom,

She saw the helmet and the plume,

She looked down to Camelot.  (106-113)

Imagery makes abstract ideas more concrete.  With the visual and auditory imagery, Tennyson makes concrete his ideas.  That helps the reader understand what he is revealing.  For one example, the Lady first sees Lancelot blaze into her mirror, and then hears the ringing of his bells and armor, followed by his song.  These images concretely reveal what makes the Lady look out the window and break the curse.  The speaker could say that the Lady sees Lancelot in her mirror, and hears him outside, and therefore goes to the window and looks out.  But all that is abstract.  The images make it concrete.   

What is Gatsby's personality in chapter five of The Great Gatsby?

Concerning The Great Gatsby, chapter
five, and Gatsby's personality, I'll analyze him as he appears in the opening section of
the chapter for you.

Gatsby appears
anxious about making arrangements to meet Daisy at Nick's
house.  He may also feel a bit isolated or
lonely.  He approaches Nick the minute Nick arrives
(apparently he has been watching and waiting for him) and suggests going to Coney
Island.  When that doesn't work, he offers a swim in his pool.  He looks at Nick with
"suppressed eagerness."  In other words, he's trying not to show it, but he is eager to
talk to Nick about arranging for Daisy to come to Nick's for tea.  Gatsby is a bit like
a nervous adolescent with a crush on someone in this
scene. 

At the same time, Gatsby's terrible
social skills are exhibited here.  Gatsby is not very good with people. 
He is not comfortable with people.  He is somewhat inept with verbal communication.  He
asks Nick to go to Coney Island, etc., because he is afraid or unable to come straight
to the point.   

He is extremely unsure of
himself, but he is also extremely
courteous.  When Nick asks

readability="5">

"What day would suit
you?"

to have Daisy over,
Gatsby immediately replies

readability="5">

"What day would suit
you?"

He
is so courteous, in fact, that he seems much more comfortable doing a favor for someone
than having someone do a favor for him.  He, apparently, had decided ahead of time to
offer Nick a "little business" to help him out financially, and in fact does so. 
 

Finally, when Gatsby tells Nick that he wants to get the
grass cut before Daisy comes (and Nick suspects Gatsby means Nick's grass, which
apparently is correct), he reveals his perfectionism, at
least when it comes to making a good impression on Daisy.  Later he will send a tea set
and flowers over to Nick's before Daisy's arrival.   

What is Gatsby's personality in chapter five of The Great Gatsby?

Concerning The Great Gatsby, chapter five, and Gatsby's personality, I'll analyze him as he appears in the opening section of the chapter for you.

Gatsby appears anxious about making arrangements to meet Daisy at Nick's house.  He may also feel a bit isolated or lonely.  He approaches Nick the minute Nick arrives (apparently he has been watching and waiting for him) and suggests going to Coney Island.  When that doesn't work, he offers a swim in his pool.  He looks at Nick with "suppressed eagerness."  In other words, he's trying not to show it, but he is eager to talk to Nick about arranging for Daisy to come to Nick's for tea.  Gatsby is a bit like a nervous adolescent with a crush on someone in this scene. 

At the same time, Gatsby's terrible social skills are exhibited here.  Gatsby is not very good with people.  He is not comfortable with people.  He is somewhat inept with verbal communication.  He asks Nick to go to Coney Island, etc., because he is afraid or unable to come straight to the point.   

He is extremely unsure of himself, but he is also extremely courteous.  When Nick asks

"What day would suit you?"

to have Daisy over, Gatsby immediately replies

"What day would suit you?"

He is so courteous, in fact, that he seems much more comfortable doing a favor for someone than having someone do a favor for him.  He, apparently, had decided ahead of time to offer Nick a "little business" to help him out financially, and in fact does so.   

Finally, when Gatsby tells Nick that he wants to get the grass cut before Daisy comes (and Nick suspects Gatsby means Nick's grass, which apparently is correct), he reveals his perfectionism, at least when it comes to making a good impression on Daisy.  Later he will send a tea set and flowers over to Nick's before Daisy's arrival.   

In Of Mice and Men, how and why does Lennie kill Curley's wife?

There are many references to an incident in the town of
Weed. George does not really know what happened because he was some distance away when
the girl started screaming. Then he and Lennie had to run for their lives, so the only
report he got was from Lennie. And Lennie is always lying to George. Lennie claims he
only wanted to feel the fabric of the girl's dress. This was bad enough, but George
realizes later that Lennie is developing an interest in sex and that his strong interest
in petting soft little animals has only been a budding interest in sex which Lennie was
too simple-minded to understand. Then when he begins petting Curley's wife's hair in the
barn, he evidently becomes sexually aroused and would have gone as far as raping the
girl if she hadn't started screaming and struggling. It is very significant that George
says the following words when he sees the dead girl lying in the hay in the
barn:

"I
should of knew," George said hopelessly. "I guess maybe way back in my head I
did."

The reader, too, should
know that Lennie is going to keep molesting young girls and that he is potentially a
serial killer. George can't be with him all the time. George wasn't with him when he
frightened the girl in Weed, and George wasn't with him when he killed Curley's wife in
the barn. (George doesn't really know, as the reader knows, what happened in the barn.
It looks very much like an accidental killing in connection with an attempted rape--and
that is actually very close to being the truth.) Lennie may be mentally retarded, but he
has a normal male sex drive which he doesn't understand and can't control. His enormous
physical strength makes him especially dangerous.

In Of Mice and Men, how and why does Lennie kill Curley's wife?

There are many references to an incident in the town of Weed. George does not really know what happened because he was some distance away when the girl started screaming. Then he and Lennie had to run for their lives, so the only report he got was from Lennie. And Lennie is always lying to George. Lennie claims he only wanted to feel the fabric of the girl's dress. This was bad enough, but George realizes later that Lennie is developing an interest in sex and that his strong interest in petting soft little animals has only been a budding interest in sex which Lennie was too simple-minded to understand. Then when he begins petting Curley's wife's hair in the barn, he evidently becomes sexually aroused and would have gone as far as raping the girl if she hadn't started screaming and struggling. It is very significant that George says the following words when he sees the dead girl lying in the hay in the barn:

"I should of knew," George said hopelessly. "I guess maybe way back in my head I did."

The reader, too, should know that Lennie is going to keep molesting young girls and that he is potentially a serial killer. George can't be with him all the time. George wasn't with him when he frightened the girl in Weed, and George wasn't with him when he killed Curley's wife in the barn. (George doesn't really know, as the reader knows, what happened in the barn. It looks very much like an accidental killing in connection with an attempted rape--and that is actually very close to being the truth.) Lennie may be mentally retarded, but he has a normal male sex drive which he doesn't understand and can't control. His enormous physical strength makes him especially dangerous.

How does Irving develop Ichabod Crane into a round character in "The Legend of Sleepy Hollow"?

Irving takes his time developing Ichabod for the reader. He gives us insight into his everyday routines and idiosyncrasies. We know that he's a stern teacher, that he loves to read, he loves food almost as much, his imagination can get the better of him and often does, and that he has a soft spot in his heart for the opposite sex. By the time the reader meets Katrina can Tassel and Brom Bones we feel somewhat connected to Ichabod's life and his desire to win the heart of Katrina over so he can gain access to her luscious estate. When Katrina actually shows some interest, at least in Ichabod's mind he is extremely jealous and put out when she chooses the bully Brom Bones. These feelings are very much out of character for him. He leave the scene, Irving says, like "one who had been sacking a henroost, rather than a fair lady's heart."He allowed Brom to get to him so much so that he actually believed the headless horseman was in pursuit of him and he ended up leaving the town of Sleepy Hollow that he loved so dearly behind. We see some small developments and changes and being a short story, any round characters will not change drastically throughout so while Ichabod doesn't change in a big way he certainly did a lot that was out of his character because he was provoked by Brom and motivated by Katrina's fine food.

What is the point of view used in "The Ambitious Guest"?

The story is told from a third person omniscient point of view. Readers are told what happens, but also what is happening in each person's mind and heart, and even invited to reflect on the meaning of it all. This can be seen in passages like this: "Woe for the high-souled youth, with his dream of Earthly Immortality! His name and person utterly unknown; his history, his way of life, his plans, a mystery never to be solved, his death and his existence equally a doubt! Whose was the agony of that death moment?"

 

Even the soul of the "youth" is commented on, as is his fate.

How does George Orwell convey the horrors of living in a totalitarian society in 1984?Any suggestions?

1984 is a big set up.  Orwell writes
a comedy in the bleakest terms.  Comedy, as you know, focuses mainly on the flaws of the
society; a tragedy focuses on the individual.   Orwell wants to dispel any Romantic or
tragic notions that the individual has any chance of freedom or rebellion against the
modern totalitarian state.  In the end, the state will crush the individual through the
following:

torture: pain is
the last thing and individual will feel if it tries to rebel.  Pure, physical,
unadulterated pain.

police-state
surveillance: an individual's freedom is limited through profiling and
surveillance (both technological and
human)

propaganda: an
individual cannot rebel if an individual is uninformed, disorganized, and uneducated.
 The Ministry of Truth blurs the lines between truth and untruth, between persons and
unpersons, and between the past, present, and
future.

war: individual
rebellion is squashed because of state-wide war.  Nationalism is at its peak, and war
keeps the masses focused on the war effort instead of their own suffering and
poverty.

no core: individual
rebellion is hopeless when an individual has not core meaning in his life: family,
religion, or friendships.  The state keeps everyone alienated: physically, spiritually,
and emotionally.  There is no rebellion if there is no trust.

How does George Orwell convey the horrors of living in a totalitarian society in 1984?Any suggestions?

1984 is a big set up.  Orwell writes a comedy in the bleakest terms.  Comedy, as you know, focuses mainly on the flaws of the society; a tragedy focuses on the individual.   Orwell wants to dispel any Romantic or tragic notions that the individual has any chance of freedom or rebellion against the modern totalitarian state.  In the end, the state will crush the individual through the following:

torture: pain is the last thing and individual will feel if it tries to rebel.  Pure, physical, unadulterated pain.

police-state surveillance: an individual's freedom is limited through profiling and surveillance (both technological and human)

propaganda: an individual cannot rebel if an individual is uninformed, disorganized, and uneducated.  The Ministry of Truth blurs the lines between truth and untruth, between persons and unpersons, and between the past, present, and future.

war: individual rebellion is squashed because of state-wide war.  Nationalism is at its peak, and war keeps the masses focused on the war effort instead of their own suffering and poverty.

no core: individual rebellion is hopeless when an individual has not core meaning in his life: family, religion, or friendships.  The state keeps everyone alienated: physically, spiritually, and emotionally.  There is no rebellion if there is no trust.

At one point Bob Ewell comments that the "nest [of black families] down yonder" is "dangerous to live around 'sides devaluin' my property."What is...

This quote from Bob Ewell takes place in Chapter 17 during
his testimony in the Tom Robinson trial. His comments refer to the location of Maycomb's
primary African-American neighborhood, The Quarters, which are situated in close
proximity to Ewell's own property. The irony of the statement is that the Ewell
property, adjacent to the town dump, is the trashiest (and possibly least valuable)
property in the town. The house's

readability="7">

... roof (was) shingled with tin cans hammered
flat... the cabin rested uneasily on four irregular lumps of limestone. Its windows were
merely open spaces in the walls... the plot of ground around the cabin look(ed) like the
playhouse of an insane
child.

The yard was covered
with discarded items mostly ravaged from the dump.

There is
probably nothing truthful about the statement. The peaceful people of The Quarters were
not dangerous, and the Ewell property was devalued more from the proximity to the dump
than the homes of The Quarters.

At one point Bob Ewell comments that the "nest [of black families] down yonder" is "dangerous to live around 'sides devaluin' my property."What is...

This quote from Bob Ewell takes place in Chapter 17 during his testimony in the Tom Robinson trial. His comments refer to the location of Maycomb's primary African-American neighborhood, The Quarters, which are situated in close proximity to Ewell's own property. The irony of the statement is that the Ewell property, adjacent to the town dump, is the trashiest (and possibly least valuable) property in the town. The house's

... roof (was) shingled with tin cans hammered flat... the cabin rested uneasily on four irregular lumps of limestone. Its windows were merely open spaces in the walls... the plot of ground around the cabin look(ed) like the playhouse of an insane child.

The yard was covered with discarded items mostly ravaged from the dump.

There is probably nothing truthful about the statement. The peaceful people of The Quarters were not dangerous, and the Ewell property was devalued more from the proximity to the dump than the homes of The Quarters.

What surprising thing does Tony D. do in chapter 25?

Tony D., alias The Blade, is the knife-carrying punk who
constantly poses a threat to Kevin and Max in Rodman Philbrick's teen novel,
Freak the Mighty. In one memorable scene, Kevin and Max escape from
Tony by running headlong into the murky pond on the Fourth of July. When Kevin and Max
turn around, they find Tony's head barely above water, stuck in the mud
beneath.

But in the final chapter, Tony D. shows a bit of
humanity when he tells Max

readability="10">

... that it was a shame what happened, and I
could see he really meant it, and I just blew up and told him if he ever felt sorry for
me again, I'd put him headfirst in the millpond and pound him down into the mud like a
fence post.

This did nothing
to improve their relationship, and Max seemed perfectly content that the two "are
enemies again."

What surprising thing does Tony D. do in chapter 25?

Tony D., alias The Blade, is the knife-carrying punk who constantly poses a threat to Kevin and Max in Rodman Philbrick's teen novel, Freak the Mighty. In one memorable scene, Kevin and Max escape from Tony by running headlong into the murky pond on the Fourth of July. When Kevin and Max turn around, they find Tony's head barely above water, stuck in the mud beneath.

But in the final chapter, Tony D. shows a bit of humanity when he tells Max

... that it was a shame what happened, and I could see he really meant it, and I just blew up and told him if he ever felt sorry for me again, I'd put him headfirst in the millpond and pound him down into the mud like a fence post.

This did nothing to improve their relationship, and Max seemed perfectly content that the two "are enemies again."

How is the the title "This Is What It Means to Say Phoenix, Arizona" significant to the story?

The meaning of Sherman Alexie's “This Is What It Means to Say Phoenix, Arizona” is amplified by the story's symbolism. The story's title, among other elements in this story, is significant. Phoenix is not only a city in Arizona but also the name of a bird in Egyptian mythology that rises from its own ashes and is reborn, making it a symbol of immortality and regeneration. Victor and Thomas Builds-the-Fire travel to Phoenix and, in the hot Arizona summer, step inside Victor's father's trailer to reclaim, literally and figuratively, that which has been lost. It is not only Victor's father's ashes, but also the ashes of Victor's own life, which Victor seems ready to grasp by this story's end. Thomas Builds-the-Fire is the character and agent, as his name literally indicates, who has built the fire under Victor.

How is revelation an allusion in "Fahrenheit 451"?

"Revelation" is to uncover, display, or bring into the
open.  In the book, "Fahrenheit 451", Bradbury displays what might happen to a society
that no longer reads and thinks.  Through the action of the characters, he shows how the
people of this futuristic society are being manipulated by their government.  When Capt.
Beatty tells Guy Montag, in the first section, how their society came to be, he explains
that people wanted to be entertained more than they wanted to be enlightened.  He says
that people didn't want to have to think and to analyze on their own - they wanted to
have any pertinent information given to them in a quick, concise manner.  He tells
Montag that the government took over more and more until finally, books were outlawed
altogether because they made people think.  In the second section, revelation takes
place as Montag realizes that something must be done to stop the madness of his current
society and he struggles to find a way to stop it.  Revelation also takes place in the
final section of the book when Montag joins the book people and he uncovers the hope of
a better future as he watches his city and his society become incinerated by an atomic
bomb.  Revelation isn't as much an allusion as it is an outright
statement.

How is revelation an allusion in "Fahrenheit 451"?

"Revelation" is to uncover, display, or bring into the open.  In the book, "Fahrenheit 451", Bradbury displays what might happen to a society that no longer reads and thinks.  Through the action of the characters, he shows how the people of this futuristic society are being manipulated by their government.  When Capt. Beatty tells Guy Montag, in the first section, how their society came to be, he explains that people wanted to be entertained more than they wanted to be enlightened.  He says that people didn't want to have to think and to analyze on their own - they wanted to have any pertinent information given to them in a quick, concise manner.  He tells Montag that the government took over more and more until finally, books were outlawed altogether because they made people think.  In the second section, revelation takes place as Montag realizes that something must be done to stop the madness of his current society and he struggles to find a way to stop it.  Revelation also takes place in the final section of the book when Montag joins the book people and he uncovers the hope of a better future as he watches his city and his society become incinerated by an atomic bomb.  Revelation isn't as much an allusion as it is an outright statement.

How would you characterize the crowd that came to the trial? Why do you think the author described them in such detail?

The crowd is obviously on pins and needles.  Everyone knows that Tom is innocent and it shows with their body language (one reason why there is such attention given to detail) and the gasps they let escape at certain times.  One of those times is when Atticus brings attention to the fact that the marks left on Mayella's body had to have been left by a left-handed attacker and then he asks Tom to show the jury and everyone in the courtroom his left arm.  It is obvious to everyone that he couldn't have been the attacker based on the evidence since his left arm is badly mangled as a result of a farming accident in his youth.

Tom also remarks at one time in the testimony that he felt sorry for Mayella.  The affronts the white men in the audience as they feel Tom, a black man, has overreached his social station.  It is not his place to feel sorry for a white woman regardless of her sitauation...in their opinion.

The white people sit downstairs and are looking for a guilty verdict simply because of Tom Robinson's color.

The black people sit upstairs and are hoping but are not expecting the truth to be seen and for Tom to go free.  Even though the Ewells are "trash," they are still white, and the black community realizes that their word is still considered more credible than a black man's word...even from such a respected and well-liked black man as Tom.

The trial is an important stepping stone in the coming of age of Jem.

How would you start an essay titled "What do you want to be in in the future?"I want to be a doctor when I grow up... my teacher told me I just...

You should first give a brief introduction about yourself.
You could mention what kind of environment you grew up in, who influence you most in
your life or etc. Adding an anecdote on why you became to have a dream as doctor would
help. Then at the end, state what a doctor does that appeals to you the most. If you
link that with your personal life, then voila! You have your one paragraph. Remember,
it's more important to be honest than to be impressive; writing from your true feelings
will be more easier than creating a dramatic, unrealistic story.

How would you start an essay titled "What do you want to be in in the future?"I want to be a doctor when I grow up... my teacher told me I just...

You should first give a brief introduction about yourself. You could mention what kind of environment you grew up in, who influence you most in your life or etc. Adding an anecdote on why you became to have a dream as doctor would help. Then at the end, state what a doctor does that appeals to you the most. If you link that with your personal life, then voila! You have your one paragraph. Remember, it's more important to be honest than to be impressive; writing from your true feelings will be more easier than creating a dramatic, unrealistic story.

In "The Tell-Tale Heart," who are the protagonist and the antagonist and how can we tell?

I would say that the narrator is definitely the protagonist but that the antagonist is this, as in most crime stories, is the police. If it were not for the legal authorities, the protagonist could simply murder his uncle, dispose of the body, and enjoy his inheritance of the old man's property. The police are not present throughout most of the story, but it is not necessary for a protagonist or an antagonist to be physically present for his power to be felt. The police do in fact show up and prove that they were always the most serious force to be reckoned with. They will take him into custody and turn him over to others who will eventually try, convict, and execute him.

What was the importance of Hiroshima in WWII?and you can comment your view on it..

The importance of Hiroshima is that Hiroshima is a city in
southern Japan.  It was the city on which the United States dropped the first atomic
bomb that was dropped on Japan during World War II.  This bomb was dropped on August 6,
1945 from an airplane called Enola Gay that was piloted by Col. Paul
Tibbets.

The use of the atomic bomb on Hiroshima was meant
to convince the Japanese to surrender.  However, Japan did not surrender until after
another atomic bomb was dropped on the city of Nagasaki three days
later.

What was the importance of Hiroshima in WWII?and you can comment your view on it..

The importance of Hiroshima is that Hiroshima is a city in southern Japan.  It was the city on which the United States dropped the first atomic bomb that was dropped on Japan during World War II.  This bomb was dropped on August 6, 1945 from an airplane called Enola Gay that was piloted by Col. Paul Tibbets.

The use of the atomic bomb on Hiroshima was meant to convince the Japanese to surrender.  However, Japan did not surrender until after another atomic bomb was dropped on the city of Nagasaki three days later.

What is the theme of the traditional ballad "Sir Patrick Spens"?

There are a number of themes which are explored in the poem.  Prominent among these are the themes of loyalty, suffering and loss, and courage.

Loyalty is a central theme as it relates to both Sir Patrick and his crew.  When Sir Patrick is ordered by the king to go to sea, he is aware that it is a dangerous time of year for sailing, yet he promptly obeys.  His men also acquiesce without protest, because they are loyal to Sir Patrick.

The theme of suffering and loss common to the human condition is also explored in the poem.  The impact of the tale comes from the tragic loss of an exceptional man in Sir Patrick Spens, and the finality of the destruction of the ship and everyone aboard.  There is a sense of universality in Sir Patrick's lament when he says, "O wha is this has done this deed, this ill deed done to me".

The theme of courage is developed through the noble character of Sir Patrick.  He is a better man than the lords, who do not want to get "their fancy cork-heeled shoes" wet even aboard ship, and has more substance than the ladies, who are pictured as idly rich, insensitive, and demanding.  The steadfast bravery with which Sir Patrick submits to the king's command and performs his duty even to the face of death might be representative of the courage human individuals must demonstrate in facing whatever trials come their way.

What are the major turning points in the "The Pearl"?

The first turning point is the finding of the pearl, and the subsequent invigoration in Kinos' mind of a different life for his family. He predicts,

"My son will read and open the books, and my son will write and will know writing. And my son will make numbers, and these things will make us free because he will know - he will know and through him we will know...This is what the pearl will do."

The next turning point is the change from promise to poison. The discovery has ruined their lives, "It will destroy us all," Juana cried. "Even our son."

Another revolution comes when the problem of the pearl results in Kino's murder of a man he suspects of trying to steal his treasure. Still,

"Kino thrust the pearl back into his clothing, and the music of the pearl had become sinister in his ears and it was interwoven with the music of evil."

Kino is under the spell of the pearl and it will take the death of his son, Coyotito, to return the dial to morality. Finally, he clearly sees the true nature of the pearl:

And the pearl was ugly; it was gray, like a malignant growth. And Kino heard the music of the pearl, distorted and insane...And Kino drew back his arm and flung the pearl with all his might....They saw the little splash in the distance..And the music of the pearl drifted to a whisper and disappeared.

In Chapter 45 of "Great Expectations," why does Wemmick approve of Herbert’s chosen hideout?

Wemmick knows Pip's house will be closely watched, so he goes to Herbert for help in finding safe lodging for Provis. The fact that Compeyson is in London means they must be very careful where they hide Provis. When Herbert finds a room in the house where his fiancee lives, Wemmick feels this is a great choice. Its location near the river will give Pip a better chance of getting Provis on a ship leaving the country. Pip has no reason to go to Herbert's fiancee's house, so if he's being followed, Pip wouldn't lead Compeyson to Provis. Herbert can keep an eye on Provis, and Herbert's fiancee can always send for Herbert if she notices anything out of the ordinary.

What opinions does George have about women, and why would American men wish to avoid women?Why do men seek the company of other men over that of...

In Of Mice and Men, men are depicted
as animals as part of Steinbeck's anthropomorphism, Social Darwinism, socialism, and
Pragmatism.  His biological view of mankind holds that men are uber-competetive in a
all-male capitalistic workplace with limited resources, as conditions were on ranches in
California during the Great Depression.  So, these males compete to be the Alpha male,
like Curley, and they hoard, pick fights with lower-class males, and flaunt their status
as part of some paranoid defense mechanism.  In short, they puff themselves up like some
little animal that wants to be seen as more threatening than it really
is.

The men in Of Mice and Men compete
over jobs but not women.  The two seem mutually exclusive.  George tells Lennie to stay
away from Curley's wife as soon as he sees her.  In terms of mythological and archetypal
criticism, women are all temptresses, like Sirens in The Odyssey.
 They are threats to a man's job.  As such, they are to be avoided.  George and Lennie
have already seen the affects of this: the woman in Weed cried rape, which sent George
and Lennie on the run, fired from their jobs, further from their American
dream.

George would rather go to a cathouse and get rid of
all his pent up emotions all at once rather than waste two words on a woman.  When jobs
and dreams are on the line in a patriarchal all-male society, a woman only prevents a
male from achievement.  Could George's fear of women be a backlash against the
pre-feminism movement?

In the end, the American Dream is as
much a temptress as a woman.  It is a red herring, an illusion, a false promise for the
little guys like George, Lennie, and Candy.  The Alpha males control is like their
women.  The only ones with any sense, who avoid both, are Crooks and Slim.  They are the
working class heroes who are tied to the land, their work, and the Marxist
dream.

What opinions does George have about women, and why would American men wish to avoid women?Why do men seek the company of other men over that of...

In Of Mice and Men, men are depicted as animals as part of Steinbeck's anthropomorphism, Social Darwinism, socialism, and Pragmatism.  His biological view of mankind holds that men are uber-competetive in a all-male capitalistic workplace with limited resources, as conditions were on ranches in California during the Great Depression.  So, these males compete to be the Alpha male, like Curley, and they hoard, pick fights with lower-class males, and flaunt their status as part of some paranoid defense mechanism.  In short, they puff themselves up like some little animal that wants to be seen as more threatening than it really is.

The men in Of Mice and Men compete over jobs but not women.  The two seem mutually exclusive.  George tells Lennie to stay away from Curley's wife as soon as he sees her.  In terms of mythological and archetypal criticism, women are all temptresses, like Sirens in The Odyssey.  They are threats to a man's job.  As such, they are to be avoided.  George and Lennie have already seen the affects of this: the woman in Weed cried rape, which sent George and Lennie on the run, fired from their jobs, further from their American dream.

George would rather go to a cathouse and get rid of all his pent up emotions all at once rather than waste two words on a woman.  When jobs and dreams are on the line in a patriarchal all-male society, a woman only prevents a male from achievement.  Could George's fear of women be a backlash against the pre-feminism movement?

In the end, the American Dream is as much a temptress as a woman.  It is a red herring, an illusion, a false promise for the little guys like George, Lennie, and Candy.  The Alpha males control is like their women.  The only ones with any sense, who avoid both, are Crooks and Slim.  They are the working class heroes who are tied to the land, their work, and the Marxist dream.

What are the major characteristics of E. E. Cummings's poems?

There are two aspects of the poetry of E.E. Cummings that
make him significant:

1. He was on the "cutting
   edge" of the Modernist, experimental movement.  His poetry is new in its typography, its
   syntax (he uses nouns for verbs and vice versa), grammar, and punctuation, introducing
   audiences to the innovations of verse and prose in the early parat of the twentieth
   century.


2. Cummings was an effective satirist and
   intense lyric poet.  His targets for satire are often hypocrisy and the submergence of
   the individual in the military and in society  because of the "mass mind of the mass
   market."  His lyric poems celebrate love and the truth of the moment, herald
   individuality, exalt a child-like love for nature.  In an age that was reserved in its
   feeling, Cummings was personal and unapologetic about his lustful feelings and
   individual desires.

Possessing a highly
personal and idiosyncratic style, Cummings appeals much to youth in his giving of new
life to the ideas that have always been.  His poetry exists in the present,  in the
aliveness and pure essence of the state of being without regard to the flow of time. 
His poetry is existential and romantic both:

readability="18">

Spring is like a perhaps
hand

(which comes
carefully

out of Nowhere)
arranging

a window, into which people look
(while

people stare

arranging
and changing placing

carefully there a
strange

thing an a known thing here)
and

changing everything
carefully....

In these lines
from the poem "Spring is like a perhaps hand," Cummings demonstrates the
existentialism--coming out of Nowhere--and romanticism--nature/Spring that is "like a
perhaps hand" that people watch appreciatively through a windo. The odd use of syntax in
"perhaps hand" is apparent as is "arranging and changing and placing
carefully." 

What are the major characteristics of E. E. Cummings's poems?

There are two aspects of the poetry of E.E. Cummings that make him significant:

1. He was on the "cutting edge" of the Modernist, experimental movement.  His poetry is new in its typography, its syntax (he uses nouns for verbs and vice versa), grammar, and punctuation, introducing audiences to the innovations of verse and prose in the early parat of the twentieth century.


2. Cummings was an effective satirist and intense lyric poet.  His targets for satire are often hypocrisy and the submergence of the individual in the military and in society  because of the "mass mind of the mass market."  His lyric poems celebrate love and the truth of the moment, herald individuality, exalt a child-like love for nature.  In an age that was reserved in its feeling, Cummings was personal and unapologetic about his lustful feelings and individual desires.

Possessing a highly personal and idiosyncratic style, Cummings appeals much to youth in his giving of new life to the ideas that have always been.  His poetry exists in the present,  in the aliveness and pure essence of the state of being without regard to the flow of time.  His poetry is existential and romantic both:

Spring is like a perhaps hand

(which comes carefully

out of Nowhere) arranging

a window, into which people look (while

people stare

arranging and changing placing

carefully there a strange

thing an a known thing here) and

changing everything carefully....

In these lines from the poem "Spring is like a perhaps hand," Cummings demonstrates the existentialism--coming out of Nowhere--and romanticism--nature/Spring that is "like a perhaps hand" that people watch appreciatively through a windo. The odd use of syntax in "perhaps hand" is apparent as is "arranging and changing and placing carefully." 

When and how will the sun die?

Our sun appears to be of medium size and medium age, having been in existence for about 5 to 6 billion years, and having another 7 to 8 billion years to go, at least as far as its nuclear reactions are concerned.  The Sun, like all stars, is burning hydrogen, or actually fusing 4 hydrogen atoms at a time into 2 helium atoms, and giving off energy in the process.  In several billion years, the hydrogen will run low, and the Sun will cool and expand, becoming a red giant, and at this point, billions of years in the future,  the Sun will actually radiate more heat than it did because of the larger surface area, and life on Earth will end. But that won't be the end of the Sun!  It'll begin burning helium, fusing it into carbon.  When the helium runs low, the Sun will contract and the core will heat up, fusing carbon into oxygen and neon.  Contraction will slowly continue, causing the neon to fuse into magnesium, which will fuse into silicon, which will fuse into iron, where the creation of elements through nuclear reactions ends.  When the nuclear activity stops, the core will cool, and the Sun will suddenly (in about a second!) collapse into a relatively cool white dwarf, which it will remain for tens of billions of years, until it cools enough to barely radiate any energy, at which time it'll become a black dwarf.

The New Intelligent Man's Guide to Science, I. Asimov, 1965.

In "The Giver," how is the Receiver's house different from other houses in the Community?

In a word, books. In Chapter 10, Jonas is finally allowed into the dwelling area of The Receiver. At first, he finds nothing terribly remarkable:

It was not unlike his family unit's dwelling. Furniture was standard throughout the community: practical, sturdy, the function of each piece clearly defined. A bed for sleeping. A table for eating. A desk for studying.

...

But the most conspicuous difference was the books. In his own dwelling, there were the necessary reference volumes that each household contained: a dictionary...and the Book of Rules, of course.

But this room's walls were completely covered by bookcases, filled, which reached to the ceiling. There must have been hundreds -- perhaps thousands -- of books, their titles embossed in shiny letters.

Knowledge, of course, is the most valuable thing one can possess, and it can be dangerous to those who wish to keep people under control. Keeping people ignorant keeps them oppressed. The slave owners of United States knew this, thus the prohibition on teaching slaves to read. Likewise, so too do the leaders of The Community.

How does the economic decline correspond to the disintegration of the Joad family in "The Grapes of Wrath"?

This is a great question. I like that you are comparing the economic decline during the Great Depression with the problems the Joad family faces during the entire novel.

My analysis of this is that the economic decline, caused by the Depression, is what leads to the disintegration within the Joad family. Think about it, the family was doing just fine before the Depression, before the farming drought, and before the dust bowl hit. The family was living happily on their farm, as many Midwesterners did up until the storms hit. However, as the farming industry went down the toilet and the Depression came into full force, families and farmers began to lose their jobs and thus, their income.

This loss in income and work, leads the Joad family across Route 66 to California, in search of any possible work they could get their hands on. Unfortunately, as we read throughout the book, this is also what sends the family through various struggles and problems. Death, hunger, and feuds within the family are all what is experienced throughout the book, and it is tied directly to the down-spiral of the economy. Without this fallout in the economy, the Joads wouldn't have needed to drive across the country in search of work, and thus would probably not have experienced the problems that they did.

I don't understand why the psychological, the poetic, and the thematic make Macbeth great theatre.

Macbeth is the confluence of man's
worst fears, spoken with his most beautiful language, and arranged as a spectacle that
is "bloody, bold, and resolute."  It's a perfect recipe for
tragedy.

Language and
spectacle make the play great: words and
images.  What else is there?

Here are the
high points of
each:

• Language: He
  who controls language controls others, their fears, their
  fates...

•Language (argument) is used to attain
and maintain position and maintain power; Macbeth is won over by the words of women: the
equivocal language of the witches and the brute force simplicity of Lady
Macbeth

•Macbeth: thoughtful, poetic iambic
pentameter (elevates him above rest)

•Lady Macbeth: plain,
unimaginative iambic pentameter •Bleeding Captain: strong, harsh, war-like iambic
pentameter

Poetry (Rhyming Couplets): Witches: short,
choppy iambic tetrameter

Prose: •Porter (servant): dark,
bawdy common language, humor

• In terms of
  spectacle: Macbeth is visceral.  It's his bloodiest play.
   Blood imagery is key.

The witches are
psychological forces while on stage.  The audiences back then believed in their power to
control.

The swordfighting scenes are great; heads are cut
off; a soldier is gutted from belly to neck; horses eat each other; spells are cast;
people go crazy.  The blood flows early and often. It's a
horrorshow.

The dichotomy of beautiful words
and graphic imagery make for Shakespeare's most "wholly tragic"
play.

I don't understand why the psychological, the poetic, and the thematic make Macbeth great theatre.

Macbeth is the confluence of man's worst fears, spoken with his most beautiful language, and arranged as a spectacle that is "bloody, bold, and resolute."  It's a perfect recipe for tragedy.

Language and spectacle make the play great: words and images.  What else is there?

Here are the high points of each:

• Language: He who controls language controls others, their fears, their fates...

•Language (argument) is used to attain and maintain position and maintain power; Macbeth is won over by the words of women: the equivocal language of the witches and the brute force simplicity of Lady Macbeth

•Macbeth: thoughtful, poetic iambic pentameter (elevates him above rest)

•Lady Macbeth: plain, unimaginative iambic pentameter •Bleeding Captain: strong, harsh, war-like iambic pentameter

Poetry (Rhyming Couplets): Witches: short, choppy iambic tetrameter

Prose: •Porter (servant): dark, bawdy common language, humor

• In terms of spectacle: Macbeth is visceral.  It's his bloodiest play.  Blood imagery is key.

The witches are psychological forces while on stage.  The audiences back then believed in their power to control.

The swordfighting scenes are great; heads are cut off; a soldier is gutted from belly to neck; horses eat each other; spells are cast; people go crazy.  The blood flows early and often. It's a horrorshow.

The dichotomy of beautiful words and graphic imagery make for Shakespeare's most "wholly tragic" play.

How effective is "Alias Grace" as a literary re-writing of history?

I think that "Alias Grace" does quite a good job of accomplishing a literary re-writing of history.  Literary implies that it is descriptive, tells a story, and adds flourishes and embellishments as necessary to fill in important gaps in the storyline and in the characters themselves.  Re-writing implies that it uses historical evidence to keep things based or centered in actual fact and events that are documented to have occurred.  Margaret Atwood did a lot of research for this novel, reading accounts of the events, and actual newspaper articles, courtroom transcripts, and other factual documentation.  Through all of these primary and secondary sources, she was able to piece together a timeline, and the basic outline of some events that occurred in the murders.  As evidence of this, she includes actual documents in her novel from the courtroom, newspapers, and other sources.  She uses them in her novel as a part of the actual story-telling process; she relies on them to convey facts crucial to the tale that she is telling.  That suggests that she is trying, as best she can, to keep things rooted in fact and actual history.

After she had all of the facts researched as well as she could, she then added the literary flare to it all.  Enter Dr. Simon Jordan who interviews Grace, Mrs. Humphries and the relationship she pressures Jordan into, and other various touches and elements that added cohesiveness and filler to the main events of the story.  These literary characters provided a vehicle in which to introduce Grace's story; they aided well in being devices through which to get at some sort of truth, or the version of truth that Atwood creates.  Atwood also fills in gaps based on inferences and suggestions from the facts themselves, and fleshes them out into actual scenarios and conflicts. That is the literary aspect of the venture.

One possible problem is that Atwood decides to take a leap and give a concrete reason for the murders, solving what remains, in historical records, to be an unsolved mystery.  She took great literary license with that, and possibly manipulated the integrity of her tale as a result.  But, it's a fascinating ending that she uses, so, it provides great food for thought, and fodder for the imagination.

I hope that those thoughts helped; good luck!

Nick and Gatsby cross Queensboro Bridge and see a funeral with 3 African Americans being driven by a white driver. What does this symbolize?

As Nick and Gatsby drive along in his creamy roadster, [W]ith fenders like wings," they cross the Queensborough bridge and view the city of New York in its "promise of all the mystery and beauty of the world"; however, this "promise" is negated by the hearse with drawn blinds in which Eastern Europeans look out with "tragic eyes." After them comes a limousine driven by a white chauffeur "in which sat three modish Negroes....the yolks of their eyeballs rolled toward us in haughty rivalry."

In Fitzgerald's novel, cars symbolize the driving and reckless nature of those in the Jazz Age. Perhaps, the limousine with the blacks, whose faces convey a "haughty rivalry" alludes to Lothrop Stoddard's book, The Rise of the Coloured Empires, which Tom Buchanan mentions in Chapter 1, a book that mathematically calculates that whites will eventually be outnumbered. As he watches this limousine, Nick thinks,

"Anything can happen now that we've slid over this bridge...anything at all..."

With the two sights together, Nick and Gatsby may see that there is a driving movement toward change in the society and a death to many.

Discuss the values presented in Sheridan's "School for Scandal."

Sheridan emphasizes the virtues of leading a life of simplicity and honesty.

Scandal: Sheridan attacks  the pernicious vice of scandal mongering through the characters of Sir Peter and Sir Oliver: "A character dead at every word" and "murdering character to kill time." ActII sc.2 and 3.

Fashion: Sheridan criticizes the practice of slavishly following the fashion of the day. Lady Teazle: "Would you have me be out of the fashion." ActII sc1.  Lady Teazle symbolizes how good old country values of frugality, simplicity and honesty are corrupted by the vices of London life: She takes on Joseph as her lover for fashion's sake.

Hypocrisy: Joseph Surface is the personification of hypocrisy. Even as He pretends to be a very virtuous person and is always uttering noble sentiments,he covets his guardian's wife. Sheridan means to tell us not judge a person on the 'surface' merely by his words.

Friendship: Sheridan underscores the value of true friendship through the character of Sir Oliver Surface. It is Sir Oliver who judges the character of Charles and Joseph and opens the eyes of Sir Peter Teazle to the virtuous qualities of Charles and the villainy of Joseph.

Forgiveness and Reconciliation: Sheridan emphasizes the virtues of forgiveness and reconciliation. Lady Teazle finally realizes her mistake and asks her husband's forgiveness and is pardoned by him and reconciled to him. Sir Peter is also finally reconciled to Charles.

How do you think the world can avoid another Hitlerian experience?

To put it simply, if we could teach students to "not
believe the hype" and encourage the kind of open and honest debate that we've often
thought was part of our national discourse, it would be easier to avoid something like
that in the future.

One of the difficulties that will make
it easier for men like Hitler to grab power is the fact that we are pushing towards a
great deal of standardization in everything we do, particularly in schools.  We want to
train teachers the same way, we want to train kids the same way, we want to be able to
predict the way that people will react, something that will make it much easier for
someone to manipulate them.

When you look at the fact that
there are very few strongly dissenting groups of people, particularly groups that aren't
spouting some version of the main stream media's talking points, it is not hard to
believe that it will not be really difficult for someone to take advantage of that fact
and rise to power by pushing the right buttons.

Again, to
prevent that, we need to change the way we look at education and find ways to encourage
students to investigate things they are curious about instead of trying to craft a
standard curriculum that dictates what everyone will or should learn and when they ought
to learn it by.  Trusting people and in this case young students to make decisions for
themselves is not something that comes easily to us, but when you look at the
alternative and consider that it might end up being someone making the decisions for
them...  Perhaps it becomes more of an appealing option.

How do you think the world can avoid another Hitlerian experience?

To put it simply, if we could teach students to "not believe the hype" and encourage the kind of open and honest debate that we've often thought was part of our national discourse, it would be easier to avoid something like that in the future.

One of the difficulties that will make it easier for men like Hitler to grab power is the fact that we are pushing towards a great deal of standardization in everything we do, particularly in schools.  We want to train teachers the same way, we want to train kids the same way, we want to be able to predict the way that people will react, something that will make it much easier for someone to manipulate them.

When you look at the fact that there are very few strongly dissenting groups of people, particularly groups that aren't spouting some version of the main stream media's talking points, it is not hard to believe that it will not be really difficult for someone to take advantage of that fact and rise to power by pushing the right buttons.

Again, to prevent that, we need to change the way we look at education and find ways to encourage students to investigate things they are curious about instead of trying to craft a standard curriculum that dictates what everyone will or should learn and when they ought to learn it by.  Trusting people and in this case young students to make decisions for themselves is not something that comes easily to us, but when you look at the alternative and consider that it might end up being someone making the decisions for them...  Perhaps it becomes more of an appealing option.

How are Robert E. Lee and Ulysses S. Grant similar?

General Robert E. Lee and General Ulysses S. Grant had
many similarities and differences. The biggest similarity is that they were both great
civil war generals. They had a great deal of passion for what they were fighting for.
They both wanted to preserve the Union but it was inevitable that the North and South
would soon engage in war.

General Lee and General Grant
both fought in the Mexican War. They later questioned if it was right to invade and
because of the carnage they witnessed they were both opposed to war in 1861. Both also
participated in Scott's march from Vera Cruz to Mexico
City. 

In addition, they both went to school at West
Point.

How are Robert E. Lee and Ulysses S. Grant similar?

General Robert E. Lee and General Ulysses S. Grant had many similarities and differences. The biggest similarity is that they were both great civil war generals. They had a great deal of passion for what they were fighting for. They both wanted to preserve the Union but it was inevitable that the North and South would soon engage in war.

General Lee and General Grant both fought in the Mexican War. They later questioned if it was right to invade and because of the carnage they witnessed they were both opposed to war in 1861. Both also participated in Scott's march from Vera Cruz to Mexico City. 

In addition, they both went to school at West Point.

In Flowers for Algernon, how can it be argued that Charlie is better or worse off after surgery?

The mental illness that defines pre-surgery Charlie allows him to function in society, but it prevents him from forming meaningful relationships with others. Many people mock him for his illness, while others are sympathetic but see no reason to form a friendship. After the surgery, Charlie becomes aware of the stigma of his mental illness, making him angry and bitter about his treatment.

"The more intelligent you become the more problems you'll have, Charlie. Your intellectual growth is going to outstrip your emotional growth."
(Keyes, Flowers for Algernon, Google Books)

However, Charlie's increased intellect also allows him to become aware of the things he was missing; real love and friendship, and rational understanding of the world. Had the surgery been permanent, Charlie would have slowly acclimated himself to life and people, and become a normal member of society. When his mind begins to revert, the one thing that he mourns the most is the loss of reading and writing; since Charlie records his thoughts, the inability to perform these tasks hurts him more than losing his friends. However, even when his mental state has regressed further than before the surgery, Charlie's mind itself has been expanded; he is aware more than ever of his place in the world, and so is better equipped to handle situations and people who would take advantage of him. Overall, despite the loss of his intellect, Charlie is better off after the surgery, even if only a little.

True or false? Bob Ewell pestered Judge Taylor and Helen Robinson.

It is true that Bob Ewell pestered Tom Robinson's widow,
Helen, on more than one occasion. When her boss, Link Deas, noticed that Helen was
coming from the wrong direction to work each day, he got to the bottom of the situation.
Bob had been following her, making lewd remarks and threats. Link finally threatened to
get Sheriff Tate involved, and Bob ceased his
actions.

Whether Bob actually pestered the judge is another
story. When Judge Taylor got up to investigate a noise outside his house, he saw the
shadow of a man leaving in a hurry. More than likely it was Bob, but the judge didn't
seem particularly rattled.

True or false? Bob Ewell pestered Judge Taylor and Helen Robinson.

It is true that Bob Ewell pestered Tom Robinson's widow, Helen, on more than one occasion. When her boss, Link Deas, noticed that Helen was coming from the wrong direction to work each day, he got to the bottom of the situation. Bob had been following her, making lewd remarks and threats. Link finally threatened to get Sheriff Tate involved, and Bob ceased his actions.

Whether Bob actually pestered the judge is another story. When Judge Taylor got up to investigate a noise outside his house, he saw the shadow of a man leaving in a hurry. More than likely it was Bob, but the judge didn't seem particularly rattled.

Who is Miss Stephanie Crawford and what is she like?

Miss Stephanie Crawford is an older woman, 60-ish, who has never been married and loves to gossip.  She is first introduced in the first chapter and we learn most of what we know about her in the early chapters.  It is from Miss Crawford that the children have learned most of the outrageous stories they've heard about Boo Radley.  Much of what Miss Crawford has told the children is not true or is an extreme exaggeration.  In chapter 5, when the children ask Miss Maudie if she thinks the stories about Boo Radley are true, she responds with, "That is three-fourths colored folks and one-fourth Stephanie Crawford." Miss Crawford is a woman with a little extra weight on her also.  In chapter 8 when Scout and Jem build a snowman with the rare snowfall, Scout comments that its fatness makes it resemble Miss Stephanie somewhat.  Essentially, Stephanie Crawford is the type of person most people know not to listen to.  They know that she is a gossip and that her information is either completely untrue or it is very exaggerated. She likes to over-dramatize situations and she likes the "Wow" factor she gets from people if she tells them something.

What is the conflict of the book "Master Puppeteer", and why? Also what is the symbol of that conflict? The conflict like between...

The conflict in "The Master Puppeteer" is a man versus society conflict.  In the feudal system that provides the setting, there is a clear delineation between those who have and those who do not.  As Isako explains, everything "goes to the daimyo or the tax collector...a farmer's children starve while the rice brokers grow fat" (Chapter 16).  Culture dictates that the starving mask their suffering for politeness's sake - thus, Jiro is expected to decorously decline an offered meal at Yoshida's table (Chapter 2), even though he is so hungry that his hands shake when he works on his father's puppets and he fanticizes about eating the glue used in their construction (Chapter 1).  Poverty and hunger are the driving forces underlying the motivations of the characters.  The boys at the Hanaza Theater treasure their apprenticeship because it keeps them from starvation, and the desperate mobs in the streets become increasingly enraged as they struggle to survive in the face of gross inequity.

The symbol of the story's central conflict is Saburo, the Robin Hood-like character who is the only one who has managed to defy society's hierarchies with impunity. Using brilliantly planned schemes and disguises like the incident where a group of monks gains access to the rice brokerage in Yamamoto (Chapter 3), Saburo essentially steals from the rich to give back to the poor, capturing the imagination and giving hope to the downtrodden masses. 

What is the significance of the climax in the story, "Masque of the Red Death" by Edgar Allan Poe?

In addition to the answer above, remember that Poe focused his fiction (and poetry) on the idea of a "unique and single effect." He believed that all elements in a piece should build tension (both in the story and in his audience) that was to be released at the climax, creating an emotional reacton in his reader. When the Red Death comes "like a thief in the night," a sense of dread should be palpable -- no one can evade death, and Poe wants his readers to make his readers feel the futility as deeply as his characters do.

What is the literal meaning of the 7th stanza of the poem "The Passionate Shepherd to his Love?"

Christopher Marlowe's (1564-1593)  pastoral love lyric "The Passionate Shepherd to his Love" is believed to have been written in 1588 when he was a student at Cambridge. It was published posthmously in 1599.

The poem is the  appeal of a young shepherd to his beloved lady love "to come and live with him." It is not a marriage proposal but only a 'live-in' arrangement.

The tone of the poem is both idealistic and idyllic. The shepherd lists out only the pleasures and not the drawbacks or dangers of a pastoral life to tempt her into accepting his offer.

In the seventh stanza he concludes his long list of pastoral attractions  by promising her that every "May-morning" (every day in the month of May) country youths shall dance and sing  and entertain her if she agrees to "live with him and be his love."

'Swain' is a poetic word for 'country or village youth.'

What is the purpose of the introduction to The Pearl?

The introduction to The Pearl not only serves to set up the plot, but also lets the reader know that the story is a moral lesson, a "parable," based upon a folk tale. The repetition of 'they tell' and the use of 'they say' adds to the element of the oral tradition that lies within the heart of folk tales. It introduces the three main characters in the novel, Kino, Juana, and the ill-fated child, Coyotito. The reader also is warned that this will be a tale of both 'good' and 'bad' ; most folk tales and all parables teach a lesson. Thus, this introduction also serves to let the reader know that a lesson will be learned by the end of this novel.

What is hyperpluralism?

I generally agree with the first answer, but I would take
issue with a couple of the ideas in that answer.

First of
all, pluralism does not argue that you need groups working with goals that are common to
all of them.  Pluralism envisions many different groups
with different goals, all
competing to influence
policy.

Second, hyperpluralism (which I connect in my mind
with Theodore Lowi's idea of interest group liberalism) does not argue that too many
groups suppress the power of government.  Instead, they expand the scope of government
because government is trying to do more things so as to please more people.  It is very
much like the system we have now where the government has become huge and tends to work
for the interest groups and not the common good.

So
hyperpluralism says that too many interest groups mean that government is doing too much
for too many groups and so we have an excessively large
government.

What is hyperpluralism?

I generally agree with the first answer, but I would take issue with a couple of the ideas in that answer.

First of all, pluralism does not argue that you need groups working with goals that are common to all of them.  Pluralism envisions many different groups with different goals, all competing to influence policy.

Second, hyperpluralism (which I connect in my mind with Theodore Lowi's idea of interest group liberalism) does not argue that too many groups suppress the power of government.  Instead, they expand the scope of government because government is trying to do more things so as to please more people.  It is very much like the system we have now where the government has become huge and tends to work for the interest groups and not the common good.

So hyperpluralism says that too many interest groups mean that government is doing too much for too many groups and so we have an excessively large government.

What are the four factors that divide the oceans in different zones of life?

This looks like a specific textbook answer, so your
teacher is probably looking for those specific four factors.  Since I don't have your
textbook, here are the four variables I would use to classify the different
oceans:

1) Latitude - it's location from North to South on
the globe determines much about the ocean, including temperature, the location of
currents, and the type of species that can live in it.

2) 
Depth - Take a relatively shallow ocean like the Gulf of Mexico, and a deep ocean like
parts of the Atlantic and Pacific (with depths up to 30,000 feet) and they are vastly
different oceans in terms of the kinds of life they can
support

3)  Salinity - the salt content of that ocean, or
lack of it, is a prime determinant of the kinds of life that is sustainable
there

4) Temperature - closely related to depth and
latitude, but the shallow warmer seas, tropical ones, that is, support a different kind
of life than the colder deeper oceans.

Hope that
helps!

What are the four factors that divide the oceans in different zones of life?

This looks like a specific textbook answer, so your teacher is probably looking for those specific four factors.  Since I don't have your textbook, here are the four variables I would use to classify the different oceans:

1) Latitude - it's location from North to South on the globe determines much about the ocean, including temperature, the location of currents, and the type of species that can live in it.

2)  Depth - Take a relatively shallow ocean like the Gulf of Mexico, and a deep ocean like parts of the Atlantic and Pacific (with depths up to 30,000 feet) and they are vastly different oceans in terms of the kinds of life they can support

3)  Salinity - the salt content of that ocean, or lack of it, is a prime determinant of the kinds of life that is sustainable there

4) Temperature - closely related to depth and latitude, but the shallow warmer seas, tropical ones, that is, support a different kind of life than the colder deeper oceans.

Hope that helps!