Summary and main points of Chapter 9?

In the book In the Time of Butterflies
Chapter 9 is Dede's explanation of her own desire to try and be a part of her
sister's commitment but then again he commitment to her own family.  She had been having
marital problems between her husband and herself.  She had chosen to see the town priest
and she realized that he was part of the underground
movement.

When Dede returned home her husband had taken off
with the boys and gone to his mothers.  She was in a panic.  Part of her had wanted to
be part of what her sisters were doing but she could not risk losing her boys.  Her
sisters and brothers in law wen with her to talk to Jaimito at the mother-in-law's
home.  Dede ended up getting back with her husband and they went on a trip to where they
had gone on their honeymoon.  However, something inside her had
changed.

Summary and main points of Chapter 9?

In the book In the Time of Butterflies Chapter 9 is Dede's explanation of her own desire to try and be a part of her sister's commitment but then again he commitment to her own family.  She had been having marital problems between her husband and herself.  She had chosen to see the town priest and she realized that he was part of the underground movement.

When Dede returned home her husband had taken off with the boys and gone to his mothers.  She was in a panic.  Part of her had wanted to be part of what her sisters were doing but she could not risk losing her boys.  Her sisters and brothers in law wen with her to talk to Jaimito at the mother-in-law's home.  Dede ended up getting back with her husband and they went on a trip to where they had gone on their honeymoon.  However, something inside her had changed.

Why does Caesar not read Artemidorus's letter in III.1 of Julius Caesar?

You could say that the Fates decreed that he not read the letter because his fate had already been determined. In the play, however, it is the way Artimedorus presents the message that makes Caesar turn him away. As Caesar arrives at the capitol, both Decius and Artimedorus approach him with petitions. Artimedorus shouts that Caesar should read his petition right that minute because it is a message that "touches Caesar nearer." However, Decius presents his message by saying that Caesar can read his "humble suit" at Caesar's "best leisure." In a move meant to show his own humility, Caesar says that any message that concerns his own good should be the last thing he considers. So he brushes Artimedorus aside.

In "Cyrano de Bergerac," why does Cyrano hate Montfleury?

When it comes to this question, the first thing to remember about Cyrano is that he is not comfortable in his own skin.  Though he possesses a lot of wonderful qualities, including great humor, artistic talent, and quick cognition, he has negative thoughts that he keeps to himself. Mainly, he is insecure about his large nose. He sees his strange appearance as an obstacle for him to attain a loving partner.

Let’s now contrast Cyrano to Montfleury. The overweight Montfleury is not much better in the looks department. In addition, Cyrano detests his a terrible acting skills. It is true that Cyrano's affection for Roxane made him want to keep Roxane away from Montfleury. However, his feelings are not entirely selfish. Roxane is a truly outstanding woman, in every way, so Cyrano does not believe that he or Montfleury are truly worthy of her affection. On the other hand, Cyrano does assist Baron Christian de Neuvillette in his pursuit of Roxane because Christian is an upright individual. He does not have Cyrano’s intellect, but he is noble and earns Cyrano’s respect. The events of the play prove that Cyrano is capable of putting his feelings aside to help the people he loves. 

In "Animal Farm," who or what does Moses represent and why might Napoleon have brought him back in Chapter 9?

Animal Farm is an allegory of the Bolshevik revolution. Moses represents the Russian Orthodox Church (he might also represent Rasputin). Napoleon represents Joseph Stalin. Toward the end of Stalin's reign he needed the church on his side in an effort to try and hold onto his power. Napoleon allowed Moses to return because he was telling the animals about Sugar Candy Mountain, a place like heaven for animals. The pigs tell the animals that he's wrong, yet they pay him in beer to stay. They want the old and weak animals to go quietly when it's their time to go.

What do the bear and squirrel symbolize in "Look Back in Anger"?

The bear and squirrel  symbolizes Jimmy's and Alison's immature role-play game to escape from their socially and emotionally violent class differences. Jimmy and Alison are bear and squirrel living in a jungle where steel traps lie all around them, symbolizing the pitfalls and dangers in life. At the end of the play, Jimmy says to Alison: "We'll be together in our bear's cave, and our squirrel's drey, and we'll live on honey, and nuts. . .And we'll sing songs about ourselves--about warm trees and snug caves, and lying in the sun. And you'll keep those big eyes on my fur, and help me keep my claws in order, because I'm a bit of a soppy, scruffy sort of a bear. And I'll see that you keep that sleek, busy tail glistening as it should, because you're a very beautiful squirrel, but you're none too bright either, so we've got to be careful."  (Osborne 96)

In the end, Jimmy and Alison admit their need for one another's constant support, saying they are "very timid little animals" who are afraid of the "steel cruel traps" all around them. Alison's steel trap took away her child and any future motherhood, and the play equates this with Jimmy's loss of his father at ten, when he learned about "love...betrayal...and death."

What happens in Chapters 1-4 in "Devil's Arithmetic"? I need help on it pleaseeeee! Book report kinda due soon...

Chapter 1 takes place in a contemporary setting, as thirteen-year-old Hannah is riding with her family to her grandparents' house in the Bronx to celebrate the Jewish feast of Seder.  She is not happy about going, but her mother reminds her of the purpose of the holiday, which is "remembering".

In Chapter 2, the family arrives at the house, where Grandpa Will is shouting angrily at the television, which is showing footage of the Nazi concentration camps.  Grandpa Will frequently has "fits" like this, and family members tell Hannah it is because he was in the camps during the War.  Hannah cannot understand why Grandpa cannot leave the past behind.

During the Seder celebration in Chapter 3, Grandpa Will "drone(s) on and on about the plagues and the exodus from Egypt".  Hannah's little brother Aaron reads the "Second Question" from scripture, and rituals and games are performed for the purposes of fellowship and to teach the young about rich Jewish traditions. This year, because she is thirteen, Hannah is allowed to drink the wine and is chosen to "open the door to Elijah...and invite him in".

In Chapter 4, Hannah opens the door to greet the prophet and finds herself mysteriously transported back in time to Poland in the 1940s.  She is now called Chaya, and is living with her Aunt Gitl and Uncle Shmuel on a village farm.  Preparations are being made for Shmuel's wedding which will be held on the following day. 

My sons English teacher (6th) grade wants them to write a sentence using only subjects? and expand using only subjects ?

By definition, a sentence must have both a subject and a predicate. There are no sentences with just subjects. Somewhere along the way, there has been some miscommunication between your teacher and son on what the assignment is. Perhaps the teacher wants only the subjects changed or expanded. I would suggest you write a note to the teacher asking for more explanation of the assignment.

How is the character Emilia related to the theme "loyalty vs. betrayal" in the play Othello?(quotes related to this theme)

To add to the previous editor's comments, Emilia's
loyalties shift from her husband Iago to her mistress
Desdemona.

We see Emilia stealing the handkerchief for Iago
in Act 3.  It's an harmless act, she thinks, and she has no idea what her husband
intends to do with it.  She also has no idea that her husband is a villain.  She is too
quick to think his failings are the general failings of all men, not just her husband:
 "Methinks it is the husband's fault if wives do fall,"  she tells Desdemona.  So, when
Desdemona frantically searches for her handkerchief, Emilia stands by
silently.

However in Act 5, when Emilia discovers her dying
mistress, she threatens to expose her murderer to the world.  "I care not for thy
sword," she tells Othello who has threatened her when she is about to make his act
public. This is a powerful act of courage.  She defies Othello--her superior, a man, an
armed man.   When Iago tells Emilia to be quiet, Emilia tells those around that "Tis
proper I obey him, but not now."  She tells the truth about the handkerchief and says to
Iago, "Perchance I'll never go home again."

The one person
Iago misjudged was his wife.  He assumed that she would be his loyal, faithful, and
submissive wife.  In the end, Emilia valued her friendship with Desdemona and the truth
more than her vows to her husband.

" . .. speaking as I
think, I die, I die," Emilia's last words are to placed by her mistress's side.  She has
given her life to exonerate Desdemona.

How is the character Emilia related to the theme "loyalty vs. betrayal" in the play Othello?(quotes related to this theme)

To add to the previous editor's comments, Emilia's loyalties shift from her husband Iago to her mistress Desdemona.

We see Emilia stealing the handkerchief for Iago in Act 3.  It's an harmless act, she thinks, and she has no idea what her husband intends to do with it.  She also has no idea that her husband is a villain.  She is too quick to think his failings are the general failings of all men, not just her husband:  "Methinks it is the husband's fault if wives do fall,"  she tells Desdemona.  So, when Desdemona frantically searches for her handkerchief, Emilia stands by silently.

However in Act 5, when Emilia discovers her dying mistress, she threatens to expose her murderer to the world.  "I care not for thy sword," she tells Othello who has threatened her when she is about to make his act public. This is a powerful act of courage.  She defies Othello--her superior, a man, an armed man.   When Iago tells Emilia to be quiet, Emilia tells those around that "Tis proper I obey him, but not now."  She tells the truth about the handkerchief and says to Iago, "Perchance I'll never go home again."

The one person Iago misjudged was his wife.  He assumed that she would be his loyal, faithful, and submissive wife.  In the end, Emilia valued her friendship with Desdemona and the truth more than her vows to her husband.

" . .. speaking as I think, I die, I die," Emilia's last words are to placed by her mistress's side.  She has given her life to exonerate Desdemona.

At the funeral speech, how did Marc Antony explain that Caesar was not "ambitious"?

In Act 3.2 of Shakespeare's Julius
Caesar, Antony juxtaposes (places in opposition) an unambitious act performed
by Caesar, with a refrain about Brutus's (or the other conspirators') belief that Caesar
was ambitious and about Brutus (or the other conspirators) being honorable men.  I'll
put it in bullets:

• Caesar did an unambitious
  act


• But Brutus says he was
  ambitious


• And Brutus is an honorable
  man

Here's an example from Antony's speech,
with the quotes in bullets:

• I thrice presented
  him a kingly crown,/Which he did thrice refuse.  Was this
  ambition?


• Yet Brutus says he was
  ambitious,


• And sure he is an honorable man.  (Act
  3.2.105-108)

Antony uses irony to persuade the
crowd that Caesar was not ambitious and was therefore assassinated unjustly, because he
earlier promises Brutus that he will not directly say anything negative about the
conspirators.  He, therefore, says only positive things about the conspirators, but the
juxtaposition of Caesar's unambitious acts with those positive things, creates
irony. 

And it also creates a mob that riots through Rome
looking to kill the conspirators.

At the funeral speech, how did Marc Antony explain that Caesar was not "ambitious"?

In Act 3.2 of Shakespeare's Julius Caesar, Antony juxtaposes (places in opposition) an unambitious act performed by Caesar, with a refrain about Brutus's (or the other conspirators') belief that Caesar was ambitious and about Brutus (or the other conspirators) being honorable men.  I'll put it in bullets:

• Caesar did an unambitious act


• But Brutus says he was ambitious


• And Brutus is an honorable man

Here's an example from Antony's speech, with the quotes in bullets:

• I thrice presented him a kingly crown,/Which he did thrice refuse.  Was this ambition?


• Yet Brutus says he was ambitious,


• And sure he is an honorable man.  (Act 3.2.105-108)

Antony uses irony to persuade the crowd that Caesar was not ambitious and was therefore assassinated unjustly, because he earlier promises Brutus that he will not directly say anything negative about the conspirators.  He, therefore, says only positive things about the conspirators, but the juxtaposition of Caesar's unambitious acts with those positive things, creates irony. 

And it also creates a mob that riots through Rome looking to kill the conspirators.

What happens in Chapters 13 and 14 in "The Devil's Arithmetic"?

Hannah awakens from an exhausted sleep in Chapter 13 and finds that Baby Tzipporah has died.  The new prisoners are ordered out of the barracks and given a meager meal of watery soup and hard bread.  Rivka, a young girl who is helping to distribute the food, warns the bewildered Jews to take good care of their bowls, which are used for everything - eating, washing, and drinking.  After the meal, the inmates are lined up and told by a three-fingered woman what they should expect from then on - "hard work and more hard work, and punishment if (they) do not perform well and on time".

In Chapter 14, Rivka gathers Hannah and some other girls and gives them a lesson in camp survival.  She has been in the camp for a year, and so knows what it takes to stay alive.  Rivka knows how to "organize" items that will help the prisoners survive, such as sweaters and shoes to guard against the bitter cold.  She also tells the girls about the "midden", or refuse heap, where the children, who are not supposed to be allowed to live in the camp, run to hide when the Commandant comes.  The consequence of any kind of infraction is incineration in the ovens, and Rivka cautions the girls to maintain a spirit of hope and determination even in the face of such an atmosphere of complete horror and absurdity.  Otherwise, they will become like the "musselmen", those who have given up and will not be long for even this world". 

What is a metaphor used in Tuesdays with Morrie?What is 1 metaphor used in Tuesdays with Morrie? Page number is needed and the metaphor must be...

My favorite metaphor in Tuesdays with
Morrie is the story above the wave.  It's a metaphor that uses part-to-whole.
 Waves are the part; the ocean is the whole.  The story is analogous to humans who
mistakenly think their deaths are the end of life.

Morrie
compares humans to waves.  A wave may think it is going to die when it crashes on the
beach.  It doesn't realize that it's part of the
ocean.

Most humans, in their linear thinking and
self-absorded lives, think they are headed one-way alone toward death.  Little do they
realize that they live on in the memory (ocean) of others.  In other words, a human is
part of humanity, and even though we may physically die, humanity lives
on.

"Okay. 
The story is about a little wave, bobbing along in the ocean, having a grand old time. 
He's enjoying the wind and the fresh air -- until he notices the other waves in front of
him, crashing against the shore

" 'My God, this is
terrible,' the wave says.  'Look what's going to happen to
me!'

"Then along comes another wave.  It sees the first
wave, looking grim, and it says to him, 'Why do you look so
sad?'

"The first wave says, 'You don't understand!  We're
all going to crash!  All of us waves are going to be nothing!  Isn't it
terrible?'

"The second wave says, 'No,
you don't understand.  You're not a wave, you're part of the
ocean.' "

What is a metaphor used in Tuesdays with Morrie?What is 1 metaphor used in Tuesdays with Morrie? Page number is needed and the metaphor must be...

My favorite metaphor in Tuesdays with Morrie is the story above the wave.  It's a metaphor that uses part-to-whole.  Waves are the part; the ocean is the whole.  The story is analogous to humans who mistakenly think their deaths are the end of life.

Morrie compares humans to waves.  A wave may think it is going to die when it crashes on the beach.  It doesn't realize that it's part of the ocean.

Most humans, in their linear thinking and self-absorded lives, think they are headed one-way alone toward death.  Little do they realize that they live on in the memory (ocean) of others.  In other words, a human is part of humanity, and even though we may physically die, humanity lives on.

"Okay.  The story is about a little wave, bobbing along in the ocean, having a grand old time.  He's enjoying the wind and the fresh air -- until he notices the other waves in front of him, crashing against the shore

" 'My God, this is terrible,' the wave says.  'Look what's going to happen to me!'

"Then along comes another wave.  It sees the first wave, looking grim, and it says to him, 'Why do you look so sad?'

"The first wave says, 'You don't understand!  We're all going to crash!  All of us waves are going to be nothing!  Isn't it terrible?'

"The second wave says, 'No, you don't understand.  You're not a wave, you're part of the ocean.' "

What is the significance of the setting of "The Tell-Tale Heart"?

We really don't know what the exact setting is, so it's hard to say whether it has any significance. We know that the narrator is living with an older man. We don't know their relationship. Are they father and son? Uncle and nephew? Brothers? Boarder and landlord? The narrator says that he loves the old man, so they must be at least friends.

What is significant about the story is its tone. The feeling of nervous fear builds until the narrator almost explodes with his confession. The first-person narrative limits us to knowing only what the narrator thinks, but that is enough to create the suspense in the story.

Who said the following lines and why? a. "is she a Capulet? O dear account, my life is my foe's debt." and b. b. "My only love sprung from my...

At the Capulet's ball, Romeo asks the nurse about Juliet's
identity and he is distraught at hearing that she is a Capulet, sworn enemy to the
Montagues, Romeo's family. There exists an age-old feud between the two
houses.

Romeo uses an accounting metaphor: by mentioning a
"dear account" he suggests that there is a high price to pay for being in love with
one's enemy.

"My life is my foe's debt" implies that
Romeo's life is now in his enemy's hands. Whatever account there is to settle will
be paid for with his life - this foreshadows his tragic death later. Furthermore, it
also suggests that his life will be controlled by his enemy. He will forever be at
Juliet's command for he loves her. She will be master of his fate and the paradox is
that she is, at once, also his enemy being the daughter of his family's sworn
opposition. Furthermore, his enemy, in this sense, Juliet, owes him his life - she gives
him a reason to live for he is overwhelmed by his love for
her. 

The nurse later tells Juliet who Romeo is and she
too, overwhelmed by the information, comments about her 'only love' which has found its
source in her 'only hate'. This means that the one person whom she truly loves is also a
member of the one family that she has been taught to hate. She loves no other and she
hates no one else. This once again presents a paradox: how does one love and hate the
same person at the same time?

Juliet expresses her dismay
by observing that she had seen (or fallen in love with Romeo) "too early", i.e. before
she knew who he really was and she only discovered his true identity when it was "too
late". Her love for him could not be undone despite the fact that he was supposed to be
a member of her family's sworn enemy.  

Who said the following lines and why? a. "is she a Capulet? O dear account, my life is my foe's debt." and b. b. "My only love sprung from my...

At the Capulet's ball, Romeo asks the nurse about Juliet's identity and he is distraught at hearing that she is a Capulet, sworn enemy to the Montagues, Romeo's family. There exists an age-old feud between the two houses.

Romeo uses an accounting metaphor: by mentioning a "dear account" he suggests that there is a high price to pay for being in love with one's enemy.

"My life is my foe's debt" implies that Romeo's life is now in his enemy's hands. Whatever account there is to settle will be paid for with his life - this foreshadows his tragic death later. Furthermore, it also suggests that his life will be controlled by his enemy. He will forever be at Juliet's command for he loves her. She will be master of his fate and the paradox is that she is, at once, also his enemy being the daughter of his family's sworn opposition. Furthermore, his enemy, in this sense, Juliet, owes him his life - she gives him a reason to live for he is overwhelmed by his love for her. 

The nurse later tells Juliet who Romeo is and she too, overwhelmed by the information, comments about her 'only love' which has found its source in her 'only hate'. This means that the one person whom she truly loves is also a member of the one family that she has been taught to hate. She loves no other and she hates no one else. This once again presents a paradox: how does one love and hate the same person at the same time?

Juliet expresses her dismay by observing that she had seen (or fallen in love with Romeo) "too early", i.e. before she knew who he really was and she only discovered his true identity when it was "too late". Her love for him could not be undone despite the fact that he was supposed to be a member of her family's sworn enemy.  

Describe each character from "The Bronze Bow" with at least 3 characteristics and examples: Daniel, Rosh, Simon, Joel, Thacia, Leah, and Sampson.

Daniel has bold features, dark skin and dark eyes.

"Throughout most of the novel, Daniel is motivated solely by his consuming hatred for the Romans who have killed his father and his uncle."

Joel is a very intelligent boy who has learned to make sandals

"Joel is a caring person and a progressive young man."

Rosh is a big man, he has a short, powerful body.  He is a leader of a group of men, he rescues Daniel after he runs away from his master.

"Rosh’s hatred and lust for revenge have warped his soul and distorted any original values he may have possessed."

Simon is a friend of Daniel, he leaves everything behind to follow Jesus. He is a wise man, who owns his own blacksmith shop.

"And like Jesus, Simon does not beg or demand that others join him in following God’s love."

Thacia is Joel's sister.  She is a very pretty girl with dark hair. 

"Malthace, or Thacia,  is intelligent and fearless, and she consistently presents herself as an equal."

Leah is Daniel's 15 year old sister, she is blond with blue eyes.

"The power of love is perhaps most strongly realized in Leah’s character, for love alone is able to transform her from a cowering, isolated girl into a welcoming and beautiful young woman."

Samson is a black slave, a large man. He cannot hear or speak, but he loves Daniel.

"Samson may be the most pure character in the novel, for he has no other motivation other than love and gratitude"   

What does Malcolm resolve to do by the end of Act 4 of "Macbeth"?

Malcolm and Macduff have just learned that Macbeth had Macduff's wife and children killed. Macduff is stunned almost to being speechless.  Malcolm tells Macduff to let the grief Macduff is feeling now be the cornerstone of their desire for revenge against Macbeth.  Malcolm says, "Let's make us med'cines of our great revenge / To cure this deadly grief."  A few lines later, when Macduff asks that Heaven give rest to his slain family, Malcolm says, "Be this the whetstone of your sword.  Let grief / Convert to anger; blunt not the heart, enrage."  Malcolm is telling Macduff to not let Macduff's grief disable him but to let it enable him.  They will go to Scotland now, along with help from the English, to overthrow Macbeth.

Please help me compare and contrast Absurdism and Existentialism.I am writing a paper about The Stranger by Albert Camus and i have come to the...

I am not a philosopher, but I will try to simplify
it.

Existentialism is the belief that life only
has meaning in relation to the individual person – his emotions and thoughts. Also, it
is the individual who is responsible for giving his life meaning in spite of all the
opposing forces that get in the way – boredom, alienation, etc. Most existentialists did
not believe in a higher power but those that did believed God may have created man, but
then he left man to his own devices. There are lots of varying degrees to this belief,
so this is a simplification.

Absurdism is a more extreme
philosophy. Absurdism is the belief that there is no meaning to life, or no meaning in
the universe, so that man’s attempts to search for such meaning are “absurd” because
that meaning does not exist. Some absurdists believe in a slightly different view, that
there IS meaning, but that man cannot find it, and the only thing that gives meaning to
life is absurdism itself and that man should embrace the fact that life is absurd if he
wants to survive. This was the view of Camus. He believed man should embrace the absurd
and live in spite of it. If man could do this, this was all he could hope for in
life.

Pretty grim stuff. This philosophy was in many ways
an outgrowth of the pessimism inflicted upon the world after two horrific world wars
that left footprints of hopelessness on the world.

If you
do some research, you can define these terms even further.

Please help me compare and contrast Absurdism and Existentialism.I am writing a paper about The Stranger by Albert Camus and i have come to the...

I am not a philosopher, but I will try to simplify it.

Existentialism is the belief that life only has meaning in relation to the individual person – his emotions and thoughts. Also, it is the individual who is responsible for giving his life meaning in spite of all the opposing forces that get in the way – boredom, alienation, etc. Most existentialists did not believe in a higher power but those that did believed God may have created man, but then he left man to his own devices. There are lots of varying degrees to this belief, so this is a simplification.

Absurdism is a more extreme philosophy. Absurdism is the belief that there is no meaning to life, or no meaning in the universe, so that man’s attempts to search for such meaning are “absurd” because that meaning does not exist. Some absurdists believe in a slightly different view, that there IS meaning, but that man cannot find it, and the only thing that gives meaning to life is absurdism itself and that man should embrace the fact that life is absurd if he wants to survive. This was the view of Camus. He believed man should embrace the absurd and live in spite of it. If man could do this, this was all he could hope for in life.

Pretty grim stuff. This philosophy was in many ways an outgrowth of the pessimism inflicted upon the world after two horrific world wars that left footprints of hopelessness on the world.

If you do some research, you can define these terms even further.

In "Lord of the Flies", what does Piggy think the others are trying to steal when the boys are attacked in the hut? Why is this ironic?Chapter...

Piggy thinks the others are trying to steal the conch, but the conch is still in the hut.  It is ironic that while Piggy still thinks the conch is important, in reality, it no longer matters.  What matters now is fire, and the others, sensing this, have come to steal Piggy's glasses, the instrument that will allow them to create a flame.  Fire is symbolic of destruction, and the demonic bestiality into which the boys have descended.

Percival's inarticulateness reflects the fact that talk has become insignificant.  The conch was the symbol of civilization, order, and communication in an atmosphere of mutual respect, but the boys have abandoned any semblance of functional social organization and interaction.  The boys' behavior is now dominated by their baser human instincts;  the ferocity of fire has overcome reason as represented by the conch (Chapter 10).

Discuss whether Ibsen would defend male preeminence in the home or advocate equality between spouses, in relationship to "A Doll's House"?

In "A Doll's House", Torvald has superiority.  He rules the house, and Nora hides, obfuscates, and performs in order to keep him happy.  Although she starts by willingly doing this, it is only because she has been taught to work her husband in this manner.  It is not because she is equal to him or demonstrating her own power - it is because she is living in a male dominated society and adhering to its standards.

Nora is the protagonist, however, and she will change as a result of the play.  In the end, she leaves Torvald.  When the secret of her borrowing money becomes known, Torvald shows concern for his status in society, and not for her or for their relationship.  Nora realizes that her love and attention to him is not equal to what he shows towards her.  As a result of this, Nora decides to leave Torvald.  Thus, Ibsen is advocating through Nora the need for equality between spouses.

In addition to this relationship, Ibsen shows readers the relationship between Christine and Krogstad.  The one scene between them shows a couple that is choosing equally to be together and choosing as a couple what their path in life will be.  They discuss things - they don't "play" with each other.

In the days when Jesus was around, did they have school or education? Also what is meant by the term Jesus the Jew?

There were both schools for children and universities for higher learning in the first century CE. Jesus lived in a Jewish nation that was controlled by the Roman Empire. Jewish people, depending on wealth and status, would have had access to traditional religious education and the Roman form of schooling, which was based on Greek education.

In Jewish education, school began for boys at the age of 5. Early education would have consisted of learning to read the Torah and learning to write by copying verses. At the age of 10, boys began studying Jewish law under the instruction of a rabbi, who taught them Jewish law, or Torah, the first five books of the Old Testament. Formal education ended for most by the age of 18, when they would apprentice for a trade or continue on to university to learn to become scribes. Girls were trained at home by their mothers or other women. All Jewish education had a religious base.

Roman/Greek education focused on science, philosophy, and the arts. Children were usually trained by tutors in their homes; archaeologists have found what they believe are tablets that children used to practice their writing. Later they could attend university for specialized training in law, science, medicine, and the like. One of the most famous medical schools in the world at the time was in Alexandria, Egypt.

Explain Romeo's motive for going to the Capulet party.

Romeo did not want to go to the party.  In Act 1, Scene 1, he is bemoaning the loss of his last love, Rosalind.  Benvolio is tired of seeing his friend mope.   Romeo asks how he can ever forget such a beauty.  Benvolio replies, "By giving liberty unto thine eyes: / Examine other beauties"  (1.1.225-26). 

Romeo still stubbornly wants to wallow in his misery, so Benvolio suggest that they attend the Capulet ball and prove to him that there are many other fish in the sea.   For added incentive, he suggests that seeing Romeo in attendance will make the fickle Rosalind jealous.   "I will show you at this shining at this feast," Benvolio promises  (1.2.100).  Romeo reluctantly agrees.  "I'll go along, no such sight to be shown, " he says, "But to rejoice in splendour of mine own (1.2.102-3).

Of course, Benvolio is quickly proven correct.  Romeo soon sees the lovely Juliet and falls madly in love. 

In The Outsiders, how and why does Ponyboy's opinion of the socs change by the end of the story?

At the beginning of the story, Ponyboy holds the same opinion of the socs as the rest of the greasers do.  The greasers hate the socs because the socs are rich, always pick on the greasers, and think that they are better than the greasers. 

As the story continues, however, Ponyboy begins to realize that the socs are just people like the greasers are.  The socs may have more money than the greasers, but they are still people who face pain in the same way and who struggle through the problems in life. 

Ponyboy's relationship with Cherry is the catalyst that causes Ponyboy to begin to think about who the socs actually are and to question the purpose of the on-going feud between the greasers and the socs. 

Also, when Johnny kills one of the socs, Pony begins to realize that the socs are just as vulnerable as the greasers are and that they are people just like the greasers. 

Why does O'Brien insist that war stories are not moral, and why does he try to reconsrtuct what Lemon must have experienced the moment of his...

In The Things They Carried, O'Brien
gives the recipe for "How to Tell a True War Story" by saying the stomach should believe
it.  It must pack an emotional wallup.  If it doesn't, it comes across as manufactured,
invented, moralistic, political.  It becomes a lie by becoming something else--an
abstraction, a polemic, a sermon--not a story.  A war story is a love story.  It brings
back loving memories.  It resurrects friendly
ghosts.

O'Brien's thesis for the book
is:

I want you
to feel what I felt. I want you to know why story-truth is truer sometimes than
happening-truth (O'Brien
179).

So, O'Brien says that
true war stories need to be light on  facts (logos) and morality
(ethos).  Instead, they must be visceral and brutal and gory and
full of cussing (pathos).  That's the way soldiers talk.  That's
their style.  And it's been this way since Trojan war
mythology.

First of all, war is absurd.  It does not
operate according to ethical, moral, or religious rules.  Bullets are indiscriminate.
 During war, a soldier or storyteller does not have time to moralize.  Morality and war
don't mix.

Remember woman at the reading?  She wanted a
moral or a lesson or some kind of redeeming meaning by the end of the story he read.
 She didn't understand that the story itself is the lesson.  She didn't understand that
it was a love story.

A good story doesn't preach: it's
morals are implicit, if there are any at all.  To the “dumb cooze” audience reading
O'Brien's novel for realistic depictions of war and conventional storytelling his thesis
is a betrayal, not a paradox; O'Brien, to these readers, comes across as weak,
dishonest, one so full of regret that he rejects the traditionally masculine-defined
rules of engagement in both war (“kill or be killed”) and storytelling (unreliable
narrator).

Lemon's death becomes a funny and beautiful
thing.  He reconstructs the memory by draining the focus on death from it.  He drains
the horror from it.  If a soldier and storyteller can do that, then he can open up new
perspectives that are, ironically, both beautiful and funny.

Why does O'Brien insist that war stories are not moral, and why does he try to reconsrtuct what Lemon must have experienced the moment of his...

In The Things They Carried, O'Brien gives the recipe for "How to Tell a True War Story" by saying the stomach should believe it.  It must pack an emotional wallup.  If it doesn't, it comes across as manufactured, invented, moralistic, political.  It becomes a lie by becoming something else--an abstraction, a polemic, a sermon--not a story.  A war story is a love story.  It brings back loving memories.  It resurrects friendly ghosts.

O'Brien's thesis for the book is:

I want you to feel what I felt. I want you to know why story-truth is truer sometimes than happening-truth (O'Brien 179).

So, O'Brien says that true war stories need to be light on  facts (logos) and morality (ethos).  Instead, they must be visceral and brutal and gory and full of cussing (pathos).  That's the way soldiers talk.  That's their style.  And it's been this way since Trojan war mythology.

First of all, war is absurd.  It does not operate according to ethical, moral, or religious rules.  Bullets are indiscriminate.  During war, a soldier or storyteller does not have time to moralize.  Morality and war don't mix.

Remember woman at the reading?  She wanted a moral or a lesson or some kind of redeeming meaning by the end of the story he read.  She didn't understand that the story itself is the lesson.  She didn't understand that it was a love story.

A good story doesn't preach: it's morals are implicit, if there are any at all.  To the “dumb cooze” audience reading O'Brien's novel for realistic depictions of war and conventional storytelling his thesis is a betrayal, not a paradox; O'Brien, to these readers, comes across as weak, dishonest, one so full of regret that he rejects the traditionally masculine-defined rules of engagement in both war (“kill or be killed”) and storytelling (unreliable narrator).

Lemon's death becomes a funny and beautiful thing.  He reconstructs the memory by draining the focus on death from it.  He drains the horror from it.  If a soldier and storyteller can do that, then he can open up new perspectives that are, ironically, both beautiful and funny.

i want to play boy george im a girl people say no should i be-alive in my own self

The public persona, Boy George, was born with the name
George Alan O'Dowd in 1961 in South London, England. He is rather eccentric in the way
he looks and dresses, and is instantly noticeable as an original personality. His looks
are very much the outward, visual expression of a very musically creative individual.
Along with this creativity, however, numerous person problems, especially his addiction
to drugs, have made life, at times, quite difficult and problematic for Boy
George.

When you say that you want to "play Boy George,"
what  do you mean? Do you want to dress like him? That shouldn't be much of a problem
because he dressed a lot like a girl. It may be somewhat difficult to be a girl who
plays a boy who dresses like a girl, but it's been done before. Ever see the movie
"Victor Victoria?"

The question, though, is why do you want
to play someone else, other than in a play, or in a movie? Boy George is an original;
he's his own invention. Perhaps you would be better off discovering and developing your
own, unique self... tap into the source of your own creativity. Rather than trying to be
like someone else, discover, enhance, and be proud of who you are. An original is always
better and more respected than an imitation.

i want to play boy george im a girl people say no should i be-alive in my own self

The public persona, Boy George, was born with the name George Alan O'Dowd in 1961 in South London, England. He is rather eccentric in the way he looks and dresses, and is instantly noticeable as an original personality. His looks are very much the outward, visual expression of a very musically creative individual. Along with this creativity, however, numerous person problems, especially his addiction to drugs, have made life, at times, quite difficult and problematic for Boy George.

When you say that you want to "play Boy George," what  do you mean? Do you want to dress like him? That shouldn't be much of a problem because he dressed a lot like a girl. It may be somewhat difficult to be a girl who plays a boy who dresses like a girl, but it's been done before. Ever see the movie "Victor Victoria?"

The question, though, is why do you want to play someone else, other than in a play, or in a movie? Boy George is an original; he's his own invention. Perhaps you would be better off discovering and developing your own, unique self... tap into the source of your own creativity. Rather than trying to be like someone else, discover, enhance, and be proud of who you are. An original is always better and more respected than an imitation.

What lessons can be learned from the defeat of Odysseus and his men at Ismarus?

There are several lessons that can be learned from the defeat at Ismarus.  First, the defeat is the result of an unprovoked attack which may be a lesson in itself.  Nothing is for free and when Odysseus attacked to gain booty and he paid for it with the deaths of many of his men.  The second lesson which could be learned is that Odysseus cannot trust his men to obey him.  He told them to leave quickly but in their greed they did not obey and they paid for it dearly.  This would not be the last time that his men would get themselves in trouble by disregarding Odysseus' orders.  A final lesson is about greed.  His men wanted more and more booty and they paid for it.  Again, this would not be the last time that greed gets Odysseus or his men in trouble. The defeat at Ismarus sets the scene for the repeat of these mistakes again and again.  Only Odysseus begins to learn the lessons to be gained here.  

Which is the domain of (x^2-3x+2)^1/2?

The domain of sqrt(x^2-3x+2) is formed from the xalues of
x for the expression sqrt(x^2-3x+2) is defined.

To find the
domain of sqrt(x^2-3x+2), we must impose the constraint
(x^2-3x+2)>0.

To solve the inequality, we'll
factorize the quadratic expression:

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

We'll factorize the first 2 terms and the next 2
terms, so that:

x(x-1) - 2(x-1) =
0

We'll factorize again and we'll
obtain:

(x-1)(x-2)=0

We'll set
each factor eqaul to
0.

x-1=0

x=1

x-2=0

x=2

After
finding the zeros, we have to test the signs over the 3
intervals:

(-inf,1), (1,2), (2,
inf).

We'll choose values from each interval and thest the
sign:

For x=0, in interval
(-inf,1).

sqrt(0^2-3*0+2) =
sqrt2>0

For x=1.5, in interval
(1,2)

sqrt(1.5^2-3*1.5+2)=sqrt(2.25 - 4.5 + 2)=sqrt(-0.25)
undefined

For x=3, in interval (2,
inf)

sqrt(3^2-3*3+2)=
sqrt2>0

After testing, we can establish the
domain:

Because of the fact that the expression is defined
for values of x in the intervals (-inf,1) or (2, inf) and undefined for values of x in
the interval (1,2), the domain will
be:

Domain: (-inf,1] U [2,
inf)

Note: The symbol "U"
means reunion of
intervals.

We've included also
the values x=1 and x=2, because they are the zeros of the expression
sqrt(3^2-3*3+2).

Which is the domain of (x^2-3x+2)^1/2?

The domain of sqrt(x^2-3x+2) is formed from the xalues of x for the expression sqrt(x^2-3x+2) is defined.

To find the domain of sqrt(x^2-3x+2), we must impose the constraint (x^2-3x+2)>0.

To solve the inequality, we'll factorize the quadratic expression:

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

We'll factorize the first 2 terms and the next 2 terms, so that:

x(x-1) - 2(x-1) = 0

We'll factorize again and we'll obtain:

(x-1)(x-2)=0

We'll set each factor eqaul to 0.

x-1=0

x=1

x-2=0

x=2

After finding the zeros, we have to test the signs over the 3 intervals:

(-inf,1), (1,2), (2, inf).

We'll choose values from each interval and thest the sign:

For x=0, in interval (-inf,1).

sqrt(0^2-3*0+2) = sqrt2>0

For x=1.5, in interval (1,2)

sqrt(1.5^2-3*1.5+2)=sqrt(2.25 - 4.5 + 2)=sqrt(-0.25) undefined

For x=3, in interval (2, inf)

sqrt(3^2-3*3+2)= sqrt2>0

After testing, we can establish the domain:

Because of the fact that the expression is defined for values of x in the intervals (-inf,1) or (2, inf) and undefined for values of x in the interval (1,2), the domain will be:

Domain: (-inf,1] U [2, inf)

Note: The symbol "U" means reunion of intervals.

We've included also the values x=1 and x=2, because they are the zeros of the expression sqrt(3^2-3*3+2).

What is a summary for chapters 16, 17, and 18 of "Lyddie"?

Chapter 16. Lyddie buys new clothes and books for Rachel, spending more than two weeks’ salary. One night, Marsden makes Lyddie stay after work and puts his arms around her. She kicks him and runs from him. She becomes sick and suffers several days with a high fever. Mrs. Bedlow and the other girls take care of her.

Chapter 17. Lyddie recovers from her fever and begins to regain her strength. She is worried about returning to the mill because she fears what Marsden might do, but nothing happens. Rachel begins to work at the mill as a doffer. Rachel develops a bad cough, and when Lyddie wakes up because of it, she worries that she might lose Rachel.

 Chapter 18. Charlie comes to visit. He tells Lyddie that the Phinneys are treating him as if he were their own son and want to take in Rachel as well. Sadly, Rachel agrees to let Rachel go; she knows it will be for the best. Charlie also tells her that the family farm is going to be sold and that the proceeds will go to their uncle. Before he leaves, Charlie gives Lyddie a letter from Luke Stevens. In it, Luke says that his father has bought the farm, and he proposes marriage to her. She is insulted by the proposal, thinking that Luke is suggesting that he can buy her along with the farm. She tears the letter to bits and bursts into tears. 

What do horses symbolize in All the Pretty Horses?

Cormac McCarthy's great Western novel All the
Pretty Horses uses horses to symbolize manhood.
 Typically in the old West, guns were the definition of a man.  But here, it's a man's
horse:

Finally
he said that among men there was no such communion as among horses and the
notion that men can be understood at all was probably an
illusion.

Whereas Jimmy
Blevins kills another man to get his gun back, John Grady risks his life to go back into
Mexico to recover his horse.  Remember when Lacey and John keep asking if Jimmy stole
his horse?  They don't believe it's his, just as they don't believe he's a real man.  In
the end, they're right: he is kid attempting to be a
man.

Early in a man's life, his horse is young and
wild.

As he
was drifting to sleep his thoughts were of horses and of the open country and of horses.
Horses still wild on the mesa who'd never seen a man afoot
and who knew nothing of him or his life yet in whose souls he would come to reside
forever.

But as a man comes
into his own so does his horse.  It's not a horse, it's HIS horse.  He trained it.  He
branded it.  He pilots it.  It is his identity and
manhood:

But
there were two things they agreed upon wholly and that were never spoken and that was
that God had put horses on earth to work cattle and that other than cattle there was no
wealth proper to a
man.

What hypocrisies do you find in the nun in "The Canterbury Tales"?

For one thing, she owns all these dogs and animals that she feeds with roasted meat and milk and bread--she feeds them better than the poor to whom she should be devoting her attentions.

For another, she is "overgrown" herself.  Chaucer and other medieval folks believed that the clergy and servants of the church should not show wealth in any way--those who served the Lord should not be fat indicating an abundance of food, nor should they be pale--indicating a lack of laboring outside in the cruel sun.  However, it is understood that not all nuns had jobs that required them to labor outside in gardens, etc.

In addition, her lips are red and her jewelry is engraved with "Love conquers all".  Perhaps Chaucer is attempting to tell us that she is not a true nun after all.  Her manner is flirtatious and more feminine than a nun's should be...in this manner, we can interpret her engraving in two ways.  Love=Jesus and that true Christian love does conquer all; or Love in the flirtatious, human and feminine way gets her the thing she wants and thus conquers all.

There are other more minor things--her French is not perfect as is implied, and she attempts to act above her station in a courtly manner as the members of a royal court might behave and this is not approved of for nuns.

Only the Knight, the Parson, and the Plowman are wholeheartedly approved of by Chaucer.  Pay close attention to your footnotes as you read for hints!

What do horses symbolize in All the Pretty Horses?

Cormac McCarthy's great Western novel All the Pretty Horses uses horses to symbolize manhood.  Typically in the old West, guns were the definition of a man.  But here, it's a man's horse:

Finally he said that among men there was no such communion as among horses and the notion that men can be understood at all was probably an illusion.

Whereas Jimmy Blevins kills another man to get his gun back, John Grady risks his life to go back into Mexico to recover his horse.  Remember when Lacey and John keep asking if Jimmy stole his horse?  They don't believe it's his, just as they don't believe he's a real man.  In the end, they're right: he is kid attempting to be a man.

Early in a man's life, his horse is young and wild.

As he was drifting to sleep his thoughts were of horses and of the open country and of horses. Horses still wild on the mesa who'd never seen a man afoot and who knew nothing of him or his life yet in whose souls he would come to reside forever.

But as a man comes into his own so does his horse.  It's not a horse, it's HIS horse.  He trained it.  He branded it.  He pilots it.  It is his identity and manhood:

But there were two things they agreed upon wholly and that were never spoken and that was that God had put horses on earth to work cattle and that other than cattle there was no wealth proper to a man.

What are some of the main themes of Paradise by Toni Morrison?

One of the themes in Paradise by Toni
Morrison relates to the title of the novel, a novel about different perspectives of what
constitutes safety and safe harbor. For one group of people, safety and safe harbor (or
paradise) is what for another group of people constitutes a threat to their way of life
and existence. In Morrison's Paradise, the only apparent resolution
to this dilemma of conflicting points of view upon what constitutes safety is egregious
violence.

One theme that Morrison is presenting, a theme
that may in itself be as controversial as the points of view presented within her novel,
is that paradise has to be fought for--safe harbor can only be won through fighting
opponents, as there will always be opponents to one's version of, one's view of
paradise--first to gain paradise and then to protect and keep paradise. Another theme is
that the attainment of paradise, of one's safe harbor (for which one must paradoxically
submit one's self to the unsafety of unending violent fighting) requires at least a
periodic suspension of logic and reason and at least a periodic confidence in mysticism
and illogicality.

What are some of the main themes of Paradise by Toni Morrison?

One of the themes in Paradise by Toni Morrison relates to the title of the novel, a novel about different perspectives of what constitutes safety and safe harbor. For one group of people, safety and safe harbor (or paradise) is what for another group of people constitutes a threat to their way of life and existence. In Morrison's Paradise, the only apparent resolution to this dilemma of conflicting points of view upon what constitutes safety is egregious violence.

One theme that Morrison is presenting, a theme that may in itself be as controversial as the points of view presented within her novel, is that paradise has to be fought for--safe harbor can only be won through fighting opponents, as there will always be opponents to one's version of, one's view of paradise--first to gain paradise and then to protect and keep paradise. Another theme is that the attainment of paradise, of one's safe harbor (for which one must paradoxically submit one's self to the unsafety of unending violent fighting) requires at least a periodic suspension of logic and reason and at least a periodic confidence in mysticism and illogicality.

What are the characteristic of Emily's mother in Tillie Olsen's short story "I Stand Here Ironing"?

Emily's mother, the narrator, is a woman who has many regrets.  She is loving and well-meaning, but guilt-ridden at the ways she feels she failed her oldest daughter Emily in her raising, and angry at the circumstances that caused her to do so.  She was a young mother abandoned by her husband and struggling to balance working and childcare, and in looking back she second-guesses her attempts to follow the best advice she had at the time - "with all the fierce rigidity of first motherhood (doing) like the books then said" about letting her baby cry in order to nurse her on a schedule, and later sending her daughter to a convalescent home she hated because "they persuaded me at the clinic".  She acknowledges that Emily "was a child of anxious...love", and laments that in the way she raised Emily "my wisdom came too late".

Still, despite her regrets, Emily's mother is hopeful.  She believes that, in the final analysis, nurture isn't everything, and that her daughter can rise above the circumstances of her childhood and "find her way...there is still enough left to live by".  Emily's mother's fervent prayer for her daughter is that she might know "that she is more than (a) dress on the ironing board, helpless before the iron", and have the strength and courage to become as much as she can be.

Describe the hardships that Americans faced during the Great Depression. Using historical evidence and examples from the film “Cinderella Man”.

The story of James Braddock is heavily laden with
hardships faced during the Depression.  In the opening scene, the Braddock family does
not have much to eat, as economic stress has placed its grip on the family unit.  When
their child asks for more food, Jimmy concocts a story how in his dream he had a huge
steak with George Raft and other Hollywood celebrities and "was stuffed."  At the same
time, Mae, Braddock's wife, has to dilute the milk with water in order to maximize its
use.  There are other realities conveyed through the film, as well.  When Braddock lines
up at the docks for work, the foreman asks for "five" or needs "ten" workers out of a
field of hundreds who clamor at the gate for a shot at a day's work.  While working on
the dock one day, Mike, a friend of Jimmy, notices his broken hand while working and
tells him in a heartbreaking manner, "I need this job, man."  Finally, when Jimmy's son
talks of friends being sent away because of financial hardship, James looks at his son,
dead on, and says that he is not sending his child away.  Probably the best and most
telling aspect of the life of the Great Depression would be when Braddock agrees to
fighting Max Baer, Heavyweight champion of the world.  When explaining why he feels no
fear, Braddock argues that when working people have to struggle and, in cases like
Mike's, die for work, for money, for a job, little else can be feared as Jimmy argues
working on the docks is far worse than anything Baer can throw at
him.

Describe the hardships that Americans faced during the Great Depression. Using historical evidence and examples from the film “Cinderella Man”.

The story of James Braddock is heavily laden with hardships faced during the Depression.  In the opening scene, the Braddock family does not have much to eat, as economic stress has placed its grip on the family unit.  When their child asks for more food, Jimmy concocts a story how in his dream he had a huge steak with George Raft and other Hollywood celebrities and "was stuffed."  At the same time, Mae, Braddock's wife, has to dilute the milk with water in order to maximize its use.  There are other realities conveyed through the film, as well.  When Braddock lines up at the docks for work, the foreman asks for "five" or needs "ten" workers out of a field of hundreds who clamor at the gate for a shot at a day's work.  While working on the dock one day, Mike, a friend of Jimmy, notices his broken hand while working and tells him in a heartbreaking manner, "I need this job, man."  Finally, when Jimmy's son talks of friends being sent away because of financial hardship, James looks at his son, dead on, and says that he is not sending his child away.  Probably the best and most telling aspect of the life of the Great Depression would be when Braddock agrees to fighting Max Baer, Heavyweight champion of the world.  When explaining why he feels no fear, Braddock argues that when working people have to struggle and, in cases like Mike's, die for work, for money, for a job, little else can be feared as Jimmy argues working on the docks is far worse than anything Baer can throw at him.

Dicuss why the theme of "Money cannot buy happiness" in The Great Gatsby makes it a great piece of American fiction.Please answer in detail and...

Concerning The Great Gatsby, you
should be careful of looking for simple, easy one-liners in sophisticated fiction. 
Human existence is complex, not simple, and sophisticated fiction usually reflects
that.

For instance, in this novel, money is only a means to
an end for Gatsby.  He doesn't strive to become wealthy because of greed.  He strives to
become wealthy for the sake of winning Daisy back.  Money only matters to Gatsby because
he thinks it will help him win Daisy back.  An easy one-liner about money not buying
happiness doesn't apply to Gatsby.  Daisy will bring happiness to Gatsby, nothing else. 
That is the issue.

For another example, Tom is definitely
leading a happy life, so to speak.  He has a beautiful wife, doesn't have to work as far
as the reader knows, and has a girlfriend, too.  And he wins in the end.  He is so sure
of himself and so ignorant that he thinks he's always right and enjoys the winning.  He
has what he wants and gets what he wants.  If one wants to apply one-liners to the
novel, one could argue that the novel suggests that money can buy
happiness.  A reader's judgments concerning Tom do not take away from the fact that Tom
is happy with his situation and his life. 

The corruption
of the American Dream is at issue in the novel, as are one's ability or inability to
recapture the past, illusion, and other issues.  But saying that the novel shows that
money can't buy happiness is too moralistic and too easy and too
simplistic.

Dicuss why the theme of "Money cannot buy happiness" in The Great Gatsby makes it a great piece of American fiction.Please answer in detail and...

Concerning The Great Gatsby, you should be careful of looking for simple, easy one-liners in sophisticated fiction.  Human existence is complex, not simple, and sophisticated fiction usually reflects that.

For instance, in this novel, money is only a means to an end for Gatsby.  He doesn't strive to become wealthy because of greed.  He strives to become wealthy for the sake of winning Daisy back.  Money only matters to Gatsby because he thinks it will help him win Daisy back.  An easy one-liner about money not buying happiness doesn't apply to Gatsby.  Daisy will bring happiness to Gatsby, nothing else.  That is the issue.

For another example, Tom is definitely leading a happy life, so to speak.  He has a beautiful wife, doesn't have to work as far as the reader knows, and has a girlfriend, too.  And he wins in the end.  He is so sure of himself and so ignorant that he thinks he's always right and enjoys the winning.  He has what he wants and gets what he wants.  If one wants to apply one-liners to the novel, one could argue that the novel suggests that money can buy happiness.  A reader's judgments concerning Tom do not take away from the fact that Tom is happy with his situation and his life. 

The corruption of the American Dream is at issue in the novel, as are one's ability or inability to recapture the past, illusion, and other issues.  But saying that the novel shows that money can't buy happiness is too moralistic and too easy and too simplistic.

Why does Howard's son say "the capital of Ohio is Cincinatti" on the recording in "Death of a Salesman"? I'm doing a production of the show, just...

This is part one of Act II of the play.  Willy has gone to see Howard, his boss, to ask for a non-traveling job.  Willy has lost touch with the changes of the time.  He has been trying to approach clients in the old way, failing to understand that things are moving at a faster pace.  The incident with the recording highlights this truth about Willy.  Howard has been playing around with it the whole time Willy is there, fascinated and excited about the new device.  However, when Willy accidentally presses the button, he is fearful of it.  Willy shouts for Howard to "Shut it off!  Shut it off!"

The incorrect identification of the state capital of Ohio is deliberate.  It is Howard's son that is reciting the capitals.  Howard is a young man, which puts him in contrast to Willy.  To enhance this contrast, we are to understand that Howard's kids are young, too - unlike Willy's sons.  The mistake of "Cincinnati" is a typical mistake for a school boy.

How does photosynthesis follow the law of conservation of mass and the law of conservation of energy?Explain in detail.

Photosynthesis separate carbon-dioxide in the atmosphere
in to oxygen and carbon, using the sunlight. Thus Photo synthesis  absorbs of heat or
light energy that is contained in sunlight. In this way the inputs to the photosynthesis
process are carbon-dioxide and light energy, and the outputs are Oxygen and carbon.
Oxygen is released in the atmosphere while the carbon is used up in making food for the
plants.

The amount of oxygen and carbon atoms released by
photosynthesis are exactly equal to the atoms of these material contained in
carbon-dioxide converted. In this way photosynthesis has conserved the mass or material,
and in this way followed the law of conservation of
mass.

Photo synthesis also follows the law of conservation
of energy. The energy of sunlight used in the process of photosynthesis is absorbed by
the molecules of carbon-dioxide before they can separate in carbon and oxygen molecules.
This absorbed energy is present in the carbon and oxygen molecules and can be releases
again as energy of combustion produced when carbon and oxygen combine to produce carbon
dioxide.

How does photosynthesis follow the law of conservation of mass and the law of conservation of energy?Explain in detail.

Photosynthesis separate carbon-dioxide in the atmosphere in to oxygen and carbon, using the sunlight. Thus Photo synthesis  absorbs of heat or light energy that is contained in sunlight. In this way the inputs to the photosynthesis process are carbon-dioxide and light energy, and the outputs are Oxygen and carbon. Oxygen is released in the atmosphere while the carbon is used up in making food for the plants.

The amount of oxygen and carbon atoms released by photosynthesis are exactly equal to the atoms of these material contained in carbon-dioxide converted. In this way photosynthesis has conserved the mass or material, and in this way followed the law of conservation of mass.

Photo synthesis also follows the law of conservation of energy. The energy of sunlight used in the process of photosynthesis is absorbed by the molecules of carbon-dioxide before they can separate in carbon and oxygen molecules. This absorbed energy is present in the carbon and oxygen molecules and can be releases again as energy of combustion produced when carbon and oxygen combine to produce carbon dioxide.

In the book In the Time of the Butterflies, how does the movement impact Dede's marriage?

Although it might seem that the revolution causes the dissolution of Dede's marriage, I think that in reality it merely exposes weaknesses that are there already.  As Dede muses in Chapter 1, "If you multiply zero by zero, you still get zero, and a thousand heartaches".  Jaimito is a domineering character and believes that a woman should submit to her husband in all things.  In Chapter 9 he forbids Dede to become involved in her siblings' revolutionary activities, observing that "the Mirabal sisters (like) to run their men, that (is) the problem...in his house, he (is) the one to wear the pants".

Even before they are married, Dede knows that Jaimito "wouldn't give a rotten plantain for risky politics".  Showing no consideration for her thoughts and feelings, he pressures her to agree with his way of thinking.  Dede, "already beginning to compromise with the man she (is) set to marry", complies, even though if she "thought long and hard about what was right and wrong, she would no doubt be an enemy of state" along with her sisters (Chapter 5).

Although the revolution inarguably contributes significantly to the problems in Dede's marriage, in the final analysis her marriage fails because of deeper issues regarding independence and respect.  Dede remains with Jaimito until long after her sisters are murdered; when she leaves him, the days of revolution are over.

What literary element is "Shakespeare is hard"? What literary element does this sentence have an example of: "On the pallid bust of Pallas,...

I'll add the following to your
answer. 

Pallid and Pallas do create alliteration with the
"p" sound, and they also provide repetition and unity with the use of assonance:  the
repetition of vowel sounds (short "a" sounds, in this case).  They do not constitute
internal rhyme, because they do not rhyme:  the final syllables are not identical and do
not sound the same.  Variations of true rhyme do exist, but -id and -as in the final
syllables do not fit into any category of
rhyme.

"Shakespeare is hard," I believe, is an example of
synecdoche:  naming a whole for its part.  "Shakespeare" means "reading Shakespeare." 
Shakespeare, the person, is not literally hard.  Reading him can be.  I'm not entirely
sure about this, but the figurative language being used seems to involve naming. 
Another editor may be more certain.

Finally, I believe
"wind with a wolf's head" is simply metaphor.  The wind is being compared to the head of
a wolf.  The wind is the tenor of the metaphor (what the writer wants to describe), and
the wolf's head is the vehicle (what the writer uses to describe the tenor).  There is
an obvious comparison, and neither like or as is used, which would make it a simile. 
Instead, the comparison is direct, which makes the line a
metaphor.   

What literary element is "Shakespeare is hard"? What literary element does this sentence have an example of: "On the pallid bust of Pallas,...

I'll add the following to your answer. 

Pallid and Pallas do create alliteration with the "p" sound, and they also provide repetition and unity with the use of assonance:  the repetition of vowel sounds (short "a" sounds, in this case).  They do not constitute internal rhyme, because they do not rhyme:  the final syllables are not identical and do not sound the same.  Variations of true rhyme do exist, but -id and -as in the final syllables do not fit into any category of rhyme.

"Shakespeare is hard," I believe, is an example of synecdoche:  naming a whole for its part.  "Shakespeare" means "reading Shakespeare."  Shakespeare, the person, is not literally hard.  Reading him can be.  I'm not entirely sure about this, but the figurative language being used seems to involve naming.  Another editor may be more certain.

Finally, I believe "wind with a wolf's head" is simply metaphor.  The wind is being compared to the head of a wolf.  The wind is the tenor of the metaphor (what the writer wants to describe), and the wolf's head is the vehicle (what the writer uses to describe the tenor).  There is an obvious comparison, and neither like or as is used, which would make it a simile.  Instead, the comparison is direct, which makes the line a metaphor.   

Who are the weird sisters from the play "Macbeth"?

An interesting bit of etymology about the word "weird" is that it comes from the Old English word "wyrd" meaning "fate."  The witches are very similar to the Fates in mythology who shared an eye and could see the future for mortals.  They cut the threads in the tapestry of life when they were supposed to, but had no control over the actions of the humans who had free will.

Similarly, the witches in Macbeth share information that can be interpreted in multiple ways (the apparitions who tell him he can not fall until the forest marches up the hill, that no man born of woman can harm him, and that he must beware Macduff).  They have no real control over Macbeth since he has free will, but they know that giving him a false sense of security will cause him to make erroneous choices.  They enjoy toying with mortals (for example, the sailor's wife who refused to share her chestnuts), but Hecate and the "betters" are the ones with the real power.

Is it required by law that an parent or guardian attend a probation appointment with a juvenile sentenced to adult probation?

Yes, if a juvenile is being questioned by law enforcement, a parent or guardian would have to provide consent for any interrogation.  However, in this case the facts suggest the minor has already entered a plea or had a trial, which could alter the situation. It sounds like the juvenile is being treated as an adult under the law and that means a parent probably does not have to attend. Does the child have an attorney?  In that case, the attorney would "speak" for the juvenile. Regardless of the situation, it is always important for a parent to be in court and show support for the child. Some judges take this into consideration when determining a sentence.

Because each state has different laws, you should consider contacting an attorney for legal advice for your specific situation. Most bar associations have a referral service where attorneys will provide the first visit free or for a low cost. You could contact your state bar or county bar for assistance.

What are some character traits that Laertes has?Hamlet by William Shakespeare Please provide proof and cite lines for the character trait you choose

While Laertes is bold and rash as he crashes into
Elsinore, calling Claudius "O thou vile king! (V,i,116), and while he is gullible in
believing Claudius's intention are for Laertes to avenge himself against Hamlet, Laertes
does have some redeeming characteristics.

For instance,
just before Laertes wounds Hamlet with the rapier whose tip has been poisoned, he has a
twinge of conscience as in an aside he says, "And yet it is almost against my conscience
(V,ii,296).  Then, as he and Hamlet lie dying, Laertes asks Hamlet to forgive him as he
forgives Hamlet:

readability="13">

Exchange forgiveness with me, noble
Hamlet

Mine and my father's death come not upon
thee,

'Nor thine on me! (V,ii,
308-310)

And, perhaps the
most redeeming trait of Laertes is his devotion and love for his sister.  To Ophelia,
Laertes gives sound advice when he learns that she loves Hamlet, cautioning her to
remember that he is Prince of Denmark and may have to marry someone else, and to be
careful with her affections:

readability="55">

...Perhaps he loves you
now,

And now no soil nor cautel doth
besmirch

The virtue of his will, but you must
fear,

His greatess weighed, his will is not his
own,

For he himself is subject to his
birth.

He may not, as unvalued persons
do,

Carve for himself, for on his choice
depends

The safety and health of this whole
state,

And therefore must his choice be
circumscribed

Unton the voice and yielding of that
body

Whereof he is the head.  Then if he says he loves
you,

It fits your wisdom so far to believe
it....[But]

If with too credent ear you list his
songs,

Or lose your heart, or your chaste treasure
open

To his unmastered
importunity.

Fear it, Ophelia, fear it, my dear
sister,

And keep you in the rear of your affection.
(I,iii,14-34)

That he loves
his sister dearly is also evidenced when Laertes jumps into her
grave:

Lay
her i' th'earth,

And from her fair and unpolluted
flesh

May violets spring!  I tell thee, churlish
priest,

A minist'ring angel shall my sister
be

When thou liest howling
(V,i,208-212)

Impetuous and
at times rather foolish, Laertes is, nevertheless, forgiving and
loving.

What are some character traits that Laertes has?Hamlet by William Shakespeare Please provide proof and cite lines for the character trait you choose

While Laertes is bold and rash as he crashes into Elsinore, calling Claudius "O thou vile king! (V,i,116), and while he is gullible in believing Claudius's intention are for Laertes to avenge himself against Hamlet, Laertes does have some redeeming characteristics.

For instance, just before Laertes wounds Hamlet with the rapier whose tip has been poisoned, he has a twinge of conscience as in an aside he says, "And yet it is almost against my conscience (V,ii,296).  Then, as he and Hamlet lie dying, Laertes asks Hamlet to forgive him as he forgives Hamlet:

Exchange forgiveness with me, noble Hamlet

Mine and my father's death come not upon thee,

'Nor thine on me! (V,ii, 308-310)

And, perhaps the most redeeming trait of Laertes is his devotion and love for his sister.  To Ophelia, Laertes gives sound advice when he learns that she loves Hamlet, cautioning her to remember that he is Prince of Denmark and may have to marry someone else, and to be careful with her affections:

...Perhaps he loves you now,

And now no soil nor cautel doth besmirch

The virtue of his will, but you must fear,

His greatess weighed, his will is not his own,

For he himself is subject to his birth.

He may not, as unvalued persons do,

Carve for himself, for on his choice depends

The safety and health of this whole state,

And therefore must his choice be circumscribed

Unton the voice and yielding of that body

Whereof he is the head.  Then if he says he loves you,

It fits your wisdom so far to believe it....[But]

If with too credent ear you list his songs,

Or lose your heart, or your chaste treasure open

To his unmastered importunity.

Fear it, Ophelia, fear it, my dear sister,

And keep you in the rear of your affection. (I,iii,14-34)

That he loves his sister dearly is also evidenced when Laertes jumps into her grave:

Lay her i' th'earth,

And from her fair and unpolluted flesh

May violets spring!  I tell thee, churlish priest,

A minist'ring angel shall my sister be

When thou liest howling (V,i,208-212)

Impetuous and at times rather foolish, Laertes is, nevertheless, forgiving and loving.

In Chapter 7 of "The Great Gatsby," what does "it occurred to me that there was no difference between men..." mean?

Nick makes the comment that there is no difference "so profound as the difference between the sick and the well." He makes this observation when he sees Wilson after he has discovered that Myrtle has been cheating on him. The "shock" has made Wilson "physically sick." Nick then notes that Tom had a similar experience earlier that day when he realized that Daisy is having an affair with Gatsby, and is not "sick" at all. Nick is not referring to illness, but rather heartsickness.

In chapter 6 of To Kill A Mockingbird, what does Mr. Nathan Radley know about the intruders in his garden?

The narrator doesn't tell us what Nathan Radley knows, but I suspect he's aware of what has been going on with the children and their games. He wants to scare them away completely, so he shoots over their heads. He figures this will put a stop to the curiosity the kids have about the Radley house and wanting to see Boo Radley. He knows the gunshots in the middle of the night will bring the neighborhood out, and the children's antics will be exposed. Nathan knows Atticus will put a stop to the children's interest in Boo.

Where and when is the play Macbeth set, and were the characters real people?

Shakespeare's Macbeth is a stark reminder how illusions of grandeur and a false sense of security, can shake even the most solid foundations, such as the marriage between Macbeth and Lady Macbeth, a marriage so destructive from both sides that disaster is assured. Macbeth recognizes his own dark and "horrible imaginings," (I.iii.138) and Lady Macbeth wishes to be "top-full Of direst cruelty," (I.iv.40) in ensuring that their ambitions are realized. Shakespeare makes full use of his poetic licence in creating the setting for Macbeth and  his characters are dramatic, contradictory in nature and easily manipulated or manipulating.

He bases his characters on real-life Scottish royalty, about whom he has read in the Holingshead Chronicles, the respected source of information in its day. Shakespeare then and mixes this reality with a sharp dose of imagination, setting out to teach his audience a stark lesson on the devastating effects of "vaulting ambition," (I.vii.27) and to suit the theatrical environment.

There was indeed a real Macbeth (and Lady Macbeth), who ruled Scotland in the eleventh century, after defeating Duncan in battle. Already there are differences in the plot as Shakespeare's Macbeth kills Duncan through dishonorable means, while he sleeps. In fact, Macbeth "does murder sleep," (II.ii.37). On the battlefield, however, the real Macbeth would have been a hero, destroying the perceived enemy, a vicious and unrelenting king Duncan, not the kind and "meek" Duncan who has been "so clear in his great office," ((I.vii.17) in Shakespeare's play.

Shakespeare would also have been very aware of his allegiance to King James I of England, previously king of Scotland, apparently descended from the Scottish kings, in particular Banquo's line, and so would not have wanted to create an image of an evil king, except Macbeth, and risk upsetting his most honored audience member and, indeed, Elizabethan society.  

In Chapter 5, Gatsby's dream seems to be fulfilled. What indications are there that reality cannot satisfy his dream?

In Chapter Five, Gatsby finally fulfills his dream of being reunited with Daisy, but it seems to be the beginning of the end for him. Fitzgerald uses the passage of time and the image of a broken clock to symbolize this end.

When Gatsby is with Nick and Daisy in Nick's living room, trying to be nonchalant, he accidentally nearly knocks over a clock which is sitting on the mantelpiece.

After Gatsby straightens the clock and sits down, he apologizes to Nick. Nick's response is, "It's an old clock," a response which he claims is idiotic, because the clock didn't sustain any damage. But then the text goes on to say, "I think we all believed for a moment that it had smashed in pieces on the floor." Since the near knocking-over of the clock occurs between Gatsby saying he and Daisy had met before, and saying it was five years ago, it releases tension between them. But the ominous statement that the three believed the clock had smashed is a little bit of symbolic foreshadowing. The clock is a symbol of time passing, and Daisy's next statement refers to the amount of time that has passed since she and Gatsby were last together. Gatsby has been waiting five years for this moment, but, like the clock, his hopes and dreams seem to lie smashed on the floor. It's as if the Daisy he has kept in his dreams and the Daisy he is sitting in front of now are completely different, so reality smashes his dream like the smashed clock of their collective imaginations.

A little bit further on, Gatsby panics, thinking he has made a mistake in asking Nick to bring Daisy over for a 'chance' meeting: "'This is a terrible mistake,' he said, shaking his head from side to side, 'a terrible, terrible mistake.'" Maybe Gatsby realizes for a few moments that he can't go back in time and re-live the moments he spent with Daisy five years previously. But Nick talks him into going back and talking to Daisy, telling Gatsby he's acting like a child.

The clock is mentioned again after Gatsby takes Nick and Daisy over to his house:

“It’s the funniest thing, old sport,” he said hilariously. “I can’t — When I try to ——”
He had passed visibly through two states and was entering upon a third. After his embarrassment and his unreasoning joy he was consumed with wonder at her presence. He had been full of the idea so long, dreamed it right through to the end, waited with his teeth set, so to speak, at an inconceivable pitch of intensity. Now, in the reaction, he was running down like an overwound clock.

Gatsby has dreamed of the moment he would be reunited with Daisy for so long that it has consumed him and been his reason for everything he does. Now that the moment is passing, Gatsby seems to be slowing down like a broken (unwound) clock. His life has been lived in the time leading up to his reunion with Daisy. Now that he has fulfilled his dream, his life seems to be over.

How does Pearl's character in "The Scarlet Letter" reflect the duality of the Puritan community?considering the way she dresses, her name, how both...

Pearl reflects this duality beautifully. Remember that the Puritans were people who believed in being good even if it meant being "evil" to others (such as how they shun Hester.)

Pearl dresses in brilliant clothes, which was a sign of vanity for the Puritans. However, these same Puritans come to Hester for seamstress work. Also, Pearl is a symbolic name--she is supposed to be rare, beautiful, and white--not dressed in beautiful colors.

One of the greatest ways Pearl embodies this is that she refuses to be restrained by the Puritan way of doing things. Hester has been shunned by the society but she wants to instill proper Puritan behavior into Pearl. Pearl rejects this behavior the same way the society has rejected her and her mother. Pearl is also at one with nature, which was a "forbidden" area for most Puritans (think of the things that happen in the woods verses the things that happen in town.)

Pearl also shuns the ideas and relationships with other people in town. They consider her a devil child for doing so, even though they have done the same thing to Hester.

To me, Pearl act like what we, today, would assume a "normal" rambunctious child would act like, rather than conforming to the restraint of the Puritans.

In "The Outsiders," explain what Ponyboy means when he says Soda "reminds me of a colt."

Ponyboy goes on to say, "A long-legged palomino colt that has to get his nose into everything." A colt is a young horse who is curious about the relatively new world around him, and he's very playful. This is how Sodapop is when they're at the hospital. He's into everything while they are there and even makes a policeman laugh at his antics. It's a new situation for Sodapop that is exciting, and this excitement infects him. But, Sodapop loses interest in the excitement, just like a young, immature person. He's unable to keep his interest in any one thing for very long.

In Othello, what is the significance of the bedroom in the ending scene? Its metaphoric qualities, ownership of space, and control?

Certainly, Iago and not Othello is the master of the bedroom, which is why the death scene in which Othello ultimately fails as a general and a husband takes place in the bedroom. However, I would not call the bedroom in Othello a symbol of love. Iago tells Roderigo that the source of his conflict with Othello is jealousy, but he tells the audience that "it is thought abroad, that 'twixt my sheets / He has done my office." So Iago believes that Othello has slept with Emilia, making the underlying conflict between the characters sexual in nature, even if there is no evidence that Othello actually had sex with her.

Emilia's later comments that she would have sex with another man "i' the dark" suggests that Iago's wife has turned the bedroom into battleground. Ironically, Emilia believes that she is acting only for Iago's best to "make him a monarch," but from Iago's asides to the audience and his disrespect for women, we can infer that Iago doesn't appreciate this.

So, having the final conflict in the bedroom emphasizes that this has always been Iago's game. He felt slighted and insulted in the bedroom, and he attacked Othello in that same area in an attempt to even the score.

Did the sacrifice of those who died in "The Crucible" ultimately achieve anything? Are principles, "however glorious" they may be, always worth...

The deaths of John Proctor, Rebecca Nurse, and Martha Corey more or less bring an end to the Salem witch trials. The judges are so eager to get Proctor to confess and thereby exonerate the two women because they know that the people are growing tired of all the trials and executions. Even Rev. Parris fears that the execution of Proctor and Goody Nurse will turn public sentiment against the trials. That is exactly what happened, and when the governor's wife was accused of witchcraft, it was the final straw. He called a halt to the trials.

The Un Museum web page on the trials has this to say about Salem:

What happened at Salem lay as an open wound in the Massachusetts colony for many years. In 1697 the General Court ordered a day of fasting and soul-searching for what had happened at Salem. Samuel Sewall, who was one of the judges, publicly confessed to his error and guilt in the fraudulent convictions. Nine years later Ann Putnam Jr., one of the "afflicted girls," publicly apologized for her part in the tragedy. The village of Salem, prompted by the shadow of the trials, renamed itself to Danvers in 1752. Finally, in 1957, the State of Massachusetts formally apologized for the events of 1692.

Ultimately, those people did not die in vain. They serve as an example of what can happen when public hysteria gets the better of common sense.

What are toothbrushes made of?I'm doing a science fair project for school and I need help with my research.

The handle of a toothbrush are normally made of plastic and the brushes are normally made of synthetic fibers. Presently the synthetic fibers used in most of the toothbrushes are made of nylon. Electric toothbrushes are also popular nowadays, especially in Western countries. In an electric toothbrush there can be a rechargeable battery section or a place for replaceable dry cell batteries. Rechargeable toothbrushes come with a rechargeable unit. The design of brush section varies from manufacturer to manufacturer. The most popular electric / rechargeable toothbrushes consist a round brush section which spins when the appropriate switch is pressed.

The following article may help you to get some information about toothbrushing.

Describe the different types of love (young, unrequited, etc.) that are portrayed in the play.

To begin with we have the love story of Theseus and Hippolyta. Theseus has fought many battles and risked his life in order to win Hippolyta:"I woo'd thee with my sword / And won thy love, doing thee injuries." 

Next we have the pair of romantic lovers Hermia and Lysander and Helena and Demetrius who undergo many trials before they are united

Finally,  we have the fairy couple Oberon and Titania who are finally reconciled after a long period of separation.

What is common to all these different 'love stories' is the fact that 'the course of true love never did  run smooth'.

Shakespeare reveals to us that love at all levels, whether it is the royalty or the ordinary folk, or in the supernatural has to undergo a rigorous trial before  it succeeds.

True love will succeed if the lovers are faithful to their partners and remain patient during their time of separation and trial.

In the book Of Mice and Men what is a trait and a quote of the character Candy the old swamper? A quote and a trait

Candy, the old swamper who has lost his hand in an
accident, is a rather tragic character as he fears that soon, like his old dog, he will
outlive his usefulness.  When George Milton and Lennie Small first arrive on the ranch
and are taken to the bunkhouse, Candy--like his dog would be--is cautious as he talks to
the two new men.  He eludes the questions that George asks about the small yellow can
that contains lice poison: 

readability="6">

I don't know....Tell you what--last guy that had
thiss bed was a blacksmith--hell of a nice fella and as clean a guy as you want to
meet.  Used to wash his hands even after he
ate.

Candy does not want the
men to leave for fear that the boss will attribute their departure to something he may
have said.

Later in Steinbeck's Of Mice and
Men, warmed and strengthened by the friendship of Lennie and George, and
hopeful of joining them in the purchase of some land on which he can live out his life,
Candy becomes emboldened.  He is quick to insult Curley's wife as he tries to repel her;
he knows she is trouble and wants to keep her from endangering Lennie's and George's
positions on the ranch.

When Curley's wife, "heavily made
up," comes to the barn where Lennie and Candy are with
Crooks,

readability="6">

'Curley aint been here,' Candy said
sourly.

After she refuses to
leave, Candy becomes angered.  As he rubs the stump of his wrist on his
knee,

he said
accusingly, ' You gotta husband'.  You got no call foolin' aroun' with other guys,
causin' trouble.'

When she
asks the men what has happened to Curley's hand, it is Candy who seeks again to protect
his new friends.  He says, in a much more polite
tone,

readability="6">

'Why...Curley...he got his han' caught in a
machine, ma'am.  Bust his
han'.'

After she laughs,
Candy repeats his statement "sullenly" this
time.

Interestingly, Candy's behavior is much like that of
a stray dog.  He is lonely and wants to be accepted; at first, he is very cautious, then
when shown love, he becomes loyal and protective.  But, faced with a formidable adversay
such as Curley's wife, he backs down some and is submissive, saying "ma'am."  However,
he will only lie down on his back for so long.  His second reply is sullen, much like
the dog who gets up by walks away from his adversary.

In the book Of Mice and Men what is a trait and a quote of the character Candy the old swamper? A quote and a trait

Candy, the old swamper who has lost his hand in an accident, is a rather tragic character as he fears that soon, like his old dog, he will outlive his usefulness.  When George Milton and Lennie Small first arrive on the ranch and are taken to the bunkhouse, Candy--like his dog would be--is cautious as he talks to the two new men.  He eludes the questions that George asks about the small yellow can that contains lice poison: 

I don't know....Tell you what--last guy that had thiss bed was a blacksmith--hell of a nice fella and as clean a guy as you want to meet.  Used to wash his hands even after he ate.

Candy does not want the men to leave for fear that the boss will attribute their departure to something he may have said.

Later in Steinbeck's Of Mice and Men, warmed and strengthened by the friendship of Lennie and George, and hopeful of joining them in the purchase of some land on which he can live out his life, Candy becomes emboldened.  He is quick to insult Curley's wife as he tries to repel her; he knows she is trouble and wants to keep her from endangering Lennie's and George's positions on the ranch.

When Curley's wife, "heavily made up," comes to the barn where Lennie and Candy are with Crooks,

'Curley aint been here,' Candy said sourly.

After she refuses to leave, Candy becomes angered.  As he rubs the stump of his wrist on his knee,

he said accusingly, ' You gotta husband'.  You got no call foolin' aroun' with other guys, causin' trouble.'

When she asks the men what has happened to Curley's hand, it is Candy who seeks again to protect his new friends.  He says, in a much more polite tone,

'Why...Curley...he got his han' caught in a machine, ma'am.  Bust his han'.'

After she laughs, Candy repeats his statement "sullenly" this time.

Interestingly, Candy's behavior is much like that of a stray dog.  He is lonely and wants to be accepted; at first, he is very cautious, then when shown love, he becomes loyal and protective.  But, faced with a formidable adversay such as Curley's wife, he backs down some and is submissive, saying "ma'am."  However, he will only lie down on his back for so long.  His second reply is sullen, much like the dog who gets up by walks away from his adversary.

What is the social and historical context of "Romeo and Juliet"?What was life like in Shakespeare's time, and how might it have influenced the...

This is a huge question, to which whole books have been devoted, so can only ever be briefly answered in this context: I'll focus my answer on context specifically helpful for "Romeo and Juliet".

The Elizabethan society was strongly patriarchal, and a father had the right to treat his daughter as saleable goods (have a look at Capulet's treatment of Juliet in 4.). Marriage was a business agreement, and one of the reasons Capulet is so keen to marry Juliet off to Paris is because it represents a sound business investment.

The 'plague' which Mercutio prophesies with his dying breath, and which eventually stops Friar John from delivering the fateful letter which leads to the lovers' suicide was also a far more terrifying prospect than a 'plague' in modern day. The Black Death - the bubonic plague - was continually recurring in Europe between its first outbreaks in the 14th century and the 18th century: and outbreaks of disease regularly killed huge percentages of the population. Thus the equation Shakespeare makes between violence and disease was one which had its basis in a very real contemporary fear.

The play is set in Verona, an Italian city traditionally associated with hot-bloodedness and passion, and one which Shakespeare probably never visited. But the play's setting points to the Elizabethan obsession with Renaissance Italy - considered the height of fashion, particularly where young lovers were concerned.

What is the neurobiological approach to psychology, and how does it relate to personality and anti-social behaviour?

The neurobiological approach to psychology is when we look at how the neural functioning of neurons and neurotransmitters shape and affect the behavior of a person. In the case of mental illness you are looking at how a biological basis plays a part in the cause of the maladaptive human behavior. It is especially focused on how learning and the processing of information occurs within the patient.

This is related to anti-social personality disorder because this is a disorder that affects the way an individual thinks, perceives external events, and relates to others within their environment. People with this disorder typically have little regard for concepts of right and wrong and will not feel remorse for the pain of others. When applying the neurobiological approach to this disorder you would see how neural functioning affects the moral centers of the brain as well as the areas of the brain that control emotion.