Please analyze diction in Munro's "The Found Boat."

The level of diction among the boys is generally low, with
contractions and interjections (paragraph 4), profanity (paragraphs 7, 8), and
grammatical mistakes (paragraph 22). Eva’s language is more at a middle level, as is
Carol’s, although Carol indulges in slang in paragraph 55, and Eva uses an insulting
slang term in paragraph 12. This careful attention to detail reveals that the characters
in a sense, come from the language they speak, and can easily identified as to the type
of people they strictly from their language. This story is a good case study in
character analysis as it relates to what the characters say. 

In "Dr. Heidegger's experiment," what had been the relationship of the four people in the past?

The four guests who are invited to Dr. Heidegger's study
to participate in one of his scientific experiments are described as "venerable friends"
of the doctor, indicating their age and the kind of station that they possess. It is
important to note in this tale how Hawthorne uses these characters in his allegory -
each represents a kind of vice that when youth is restored to them they repeat and
indulge in without much apparent thought. Therefore the descriptions of each of these
characters that are given in the first paragraph are key to understanding the tale, as
are their reactions to their new-found youth.

However, in
the first paragraph, we are also given an indication of how these four people were
involved with each other:

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It is a circumstance worth mentioning, that each
of these three old gentlemen, Mr. Medbourne, Colonel Killigrew, and Mr. Gascoigne, were
early lovers of the Widow Wycherly, and had once been on the point of cutting each
other's throats for her
sake.

It is likewise
important to note why Hawthorne adds this and how he uses it to support the theme of his
story - that old age brings wisdom and reflection, whereas if we were to have our youth
returned to us, we would probably fall into the same folly as
before.

Given the law of composition x*y = 2xy - 6x - 6y + 21 solve the equation x*x*x = 3

We'll re-write the law of composition
as:

 2xy - 6x - 6y + 21 = 2(x-3)(y-3) +
3

Now, we'll apply the law of composition for
x*x:

x*x = 2(x-3)(x-3) + 3

x*x
= 2(x-3)^2 + 3

Now we'll solve
x*x*x:

[2(x-3)^2 + 3]*x = 2[2(x-3)^2 + 3 - 3](x-3) +
3

We'll eliminate like
terms:

4(x-3)^3 + 3 = 3

We'll
eliminate like terms:

4(x-3)^3 =
0

We'll divide by 4:

(x-3)^3 =
0

The solutions of the equation are: x1 = x2
= x3  = 3.

Why is karyotyping important?

Karyotyping is important when people want to find out if
their children will have any genetic disorders that involve trisomy or
monosomy.

In trisomy, an individual has an EXTRA chromosome. This can
result in mental retardation, disorders, and even shortened life expectancy. An example
is trisomy 21. You may know this more commonly as Down Syndrome. When someone has down
syndrome, they have an extra chromosome number 21. By the way, trisomy means 3
chromosomes ("tri" means three).

In monosomy, an individual has one
LESS chromosome. An example is called Turner's syndrome. This is when an offspring has
only one sex chromosome,, and their genotype is X0 for gender.

When
parents are interested or nervous about whether or not their unborn baby will have a
genetic disorder, they can have a doctor prepare a karyotype of the unborn child. Then
they can decide what they want to do about any negative feedback they
get

What is the metaphor in the poem"The Night of the Scorpion" by Nissim Ezekiel?detailed description.

In Ezekiel's poem, the scorpion serves as a metaphor for
an overbearing fear. The scorpion in the poem does what scorpions do. He stings the
mother because she got too close to him. However, the hunt and the fear that comes from
the scorpion represents a powerful force that could be related to fears we feel in life.
Ezekiel may have had something specific in mind, but whether he did or not, a reader can
take the poem and make it represent something that is relevant to their own
lives.

The fear and hunting that occurs in the poem is
similar to the fear created during the Salem Witch Trials. The people "came like swarms
of flies/ and buzzed the name of God a hundred times/ to paralyse the Evil One." They've
represented the scorpion as evil and they've created an irrational fear of it. Keeping
in mind the Salem Witch Trials idea, you can see by this line that they are unable to
find the scorpion:

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With candles and with
lanterns 
throwing giant scorpion shadows 
on the mud-baked
walls
they searched for him: he was not
found.

While a scorpion isn't
impossible to find, it is very difficult. Similarly, finding the "witches" was
difficult. In each instance, the fear comes from the differences and misunderstandings
between the two
parties.

Why does the water we drink in summer taste cooler and the water we drink in winter taste warmer?

I suspect the answer to your question is a bit subjective.
 It depends a bit on where your water comes from.  Where I live, the water is pumped in
from a lake, so the water tends to be the temperature of the lake water.  During the
winter, that means it is fairly cold.  The temperature under the ground, where the water
travels, is warmer than the water itself (generally) but in the winter the water is not
warm by any stretch of the imagination.  The warmer water your are drinking may just
seem warmer by comparison because the first bit of it has been sitting in pipes inside
your heated house.  It may also be that because it is so cold outside if you take a
drink of cold water after coming inside out of the snow it will taste warmer by
comparison.

As for the summer, the same rules apply.  The
water from the lake is generally cooler than the air (maybe by 20-30 degrees depending
on where you live) and it travels underground, where the hot outdoor temperatures don't
reach as well.  It therefore comes out of the tap much cooler than the day, but the same
relativity applies: if you come in from a hot day and drink from the tap it is going to
TASTE much cooler.

What are some examples of similes and metaphors to describe a person's personality and appearance?It could either be positive description or negative.

Similes (comparisons using "like" or "as") and metaphors
(direct comparisons without using "like" or "as") are wonderful tools by which an author
relates something familiar to something unfamiliar in order to make the audience
understand more clearly the unfamiliar item.  For example, in John Donne's "A
Valediction: Forbidding Mourning," he uses two metaphors.  In one, he compares his love
for his wife to a compass.  When he leaves, she is the "fixed foot" of the compass which
keeps him grounded, and he draws away from the center (home) to his destination.  She
leans toward him, and he is forever connected to her.  As his trip comes full circle (as
is the purpose of a compass), they are reunited and the compass is once again together
and erect--the two become one again.  The other is that their love is like gold.  You
can beat the gold into very thin strips, but it never breaks apart; so it is with their
love.  It is strong and will never break even though they may be apart from one
another.

Other examples are:  You are as stubborn as a
mule.

                                    He is as graceful
as a willow.

                                    Her eyes
are black diamonds.

                                    He
is the Devil.

                                    My
sister's arrogance is second only                                       to Julius
Caesar's.

I hope this helps you to understand this
wonderful tool of figurative language, namely simile and
metaphor.

In "The Devil and Tom Walker," what is Tom's attitude before the bargain?

I think it is important to focus on what we are told about
Tom Walker before he meets the Devil. It is clear that Irving doesn't present him as a
paragon of goodness. Consider this description:

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...there lived a meager, miserly fellow, of the
name of Tom Walker. He had a wife as miserly as himself: They were so miserly that they
even conspired to cheat each other... Her husband was continually prying about to detect
her secret hoards, and may and fierce were the conflicts that took place about what
ought to have been common
property.

Note also how their
plot of land and house is described - they live in a "forlorn looking house" which had
an air of "starvation." There are a few, wispy trees, which are "emblems of sterility"
and they have one "miserable" horse.

It is clear then that
Irving is setting us up with a character who is so miserly and tight-fisted that he even
tries to bargain with and trick the Devil - his attitude is very selfish and miserly,
and thus he seems to be a fitting character to have a tussle with the Devil and in the
end, lose, as he is dragged of by the Devil.

Explain the quotation: "Truth is a hard deer to hunt. If you eat too much truth at once, you may die of the truth."

If a person killed a deer and ate too much of it, he would
feel sick and/or sluggish. Anyone who has overeaten knows that bloated feeling,
especially after Thanksgiving dinner!

Truth is a good
thing, just like deer meat is a good thing for a hungry person. But truth, too, has its
negative side effects. When a person is exposed to too much truth, especially
considering the age of the person, truth can hurt. Consider the breakup of a long
relationship. When the truth is told, "I just don't love you any more", the one hearing
the truth is hurt. When a child finds out why they were put up for adoption, they may
feel rejection of a horrible kind. Adopted children may fantasize about a parent being
too poor to care properly for them, and giving them up to a loving, caring couple. To
hear, "I didn't want you" would make you as sick as if you have eaten the whole
Thanksgiving turkey by yourself. Trying to continue living a normal life after that
would take a lot of effort after that kind of rejection.

Throughout Act 4, scene 3 of Macbeth, several derogatory terms are used to refer to Macbeth. Make a list of these terms.

In this scene, Malcolm and Macduff have lots to say
against Macbeth.  They blame the nearly irreparable state of affairs in Scotland on
Macbeth's bloodthirsty killing spree.  Here are some of the terms they use to describe
him:

• "this tyrant,
  whose sole name blisters our tongues" (Malcolm)


• Macduff
  says, "I am not treacherous."  Malcolm answers, "But
  Macbeth is."


• "black Macbeth"
  (Malcolm)


• "Not in the legions/Of horrid hell can come
  a devil more damn'd/In evils to top Macbeth"
  (Macduff)


• "I grant him bloody/Luxurious,
  avaricious, false, deceitful/Sudden, malicious, smacking of every sin/That has a
  name. . ." (Malcolm)

And this
list is only from reading through the scene up to line 60.  The scene is a rather long
one, 240 lines, and holds many more derogatory terms that you can glean from a careful
reading.  I hope that these get you started.

Find the numbers a and b from in relation (3x+1)/(x^2-4)=a/(x-2)+b/(x+2)

To determine a and b, we'll have to calculate the least
common denominator of the 3 ratios.

LCD = (x-2)(x+2) = x^2
- 4

LCD =  x^2 - 4

Now, we'll
multiply the first ratio from the right side by x+2 and the second ratio by x-2. The
ratio from the left side has the denominator x^2 - 4, so it won't be
multiplied.

We'll re-write the equation, all 3 quotients
having the denominator x^2 - 4.

3x + 1 = a(x+2) +
b(x-2)

We'll remove the
brackets:

3x + 1 = ax + 2a + bx -
2b

We'll combine the terms from the right side with respect
to x:

3x + 1 = x(a + b) + 2a -
2b

The expressions from both sides are equals if the
correspondent coefficients are equal:

The coefficient of x
from the left side has to be equal to the coefficient of x, from the right
side:

a + b = 3 (1)

2a - 2b =
1 (2)

We'll multiply (1) by 2 and we'll
get:

2a + 2b = 6 (3)

We'll add
(3)+(2):

2a - 2b + 2a + 2b = 1 +
6

We'll combine and eliminate like
terms:

4a = 7

a
= 7/4

We'll substitute a in
(1):

7/4 + b = 3

b = 3 -
7/4

b =
(12-7)/4

b =
5/4

Would Tim O'Brien be considered a writer of psychological realism writer in The Things They Carried?

"Realism" is a very broad but useful term that can be
applied to a wide range of literature. "Psychologica realism" should be, by definition,
a sub-category of "realism." I'll do my best to explain the two, very briefly, and to
answer your question about TIm O'Brien.

To begin with,
realism has nothing to do with "what actually happens." A perfect example of realism
could be completely fictional, for example, and there's even a very famous and popular
sub-category of realism called "magical realism," in which angels can fall from the sky
or butterflies can emerge from dying people's mouths. Instead, literary realism might be
defined as an attempt through literature to capture the lived experiences of people.
Realist authors pay very close attention to the environments of their characters as well
as to forces (e.g. economic class or racial or gender discrimination) that limit the
actions of individual charactesr in their works of
literature.

Henry James is often held up as one of the
primary examples of psychological realism. He is more concerned with his characters'
inner worlds, but he paints those worlds as convincingly as any realist author might. I
think that John Cheever's short story "The Swimmer" is a good example of psychological
realism. Cheever isn't concerned with telling a purely factual story, but he does paint
a convincing porrait of surburban America and the detrimental effects of excessive
alcohol use.

I'm less sure about Tim O'Brien's "The Things
They Carried." That story (and the collection with the same name) may fit in the
category of psychological realism, too. You may want to look at the narratory's
distinction in "Good Form" between "story truth" (a fictional but "true" treatment) and
"happening truth" (a factual but perhaps less "true" treament of the same
subject).

How does Arthur Dimmesdale feel in the pulpit every Sunday?"The Scarlet Letter" by Nathaniel Hawthorne

After the minister meets in the forest with Hester Prynne,
the Reverend Dimmesdale reflects,

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"If in all these past seven years,...I could
recall one instant of peace or hope, I would yet endure, for that sake of that earnest
of Heaven's mercy."

Because
he feels so much like a hypocrite, the Reverend Dimmesdale knows no peace or hope.  In
Chapter XI, "The Interior of a Heart," Nathaniel Hawthorne writes that Arthur
Dimmesdale feels inconceivable agony as the congregation venerates him, believing that
he humbles himself before them because he is so saintly, rather than because he is
guilty of grievous sin.  As the members of his congregation revere him at the pulpit,
Dimmesdale feels tortured by their veneration.  In his love of the
truth,

he
longed to speak out, from his own pulpit, at the full height of his voice, and tell the
people what he was...."I, your pastor, whom you so reverence and trust, am utterly a
pollution and a lie!"

But the
congregation will not believe him when he says that he is "a viler companion of the
vilest, the worst of sinners...." Dimmesdale knows as he confesses that he has committed
another sin--"and transformed it into the veriest falsehood.....Therefore, above all
things else, he loathed his miserable self!"

This "inward
trouble" drives Dimmesdale to indulge in self-punishment.  He self-flagellates, he
fasts, and he holds vigils.  Yet, he cannot purify himself.

How were the first steps taken towards integration?(1945-1958)?

In addition to the above steps towards equality, I would
say that some of the initial actions integrating our society were taken directly by the
federal government in the form of Executive Orders issued by Presidents Roosevelt and
Truman.

In large part due to the threat of a strike led by
A. Philip Randolph, Roosevelt ordered equal pay be given to black workers in defense
industries.  While this did not directly cause us to be any more integrated than before,
it was an important step in that direction.

President
Truman was even more aggressive, and in 1948 he simply ordered the military to
integrate, since he was the Commander-in-Chief.  This meant he didn't have to go through
a hostile and segregationist Congress.

How does Rolle's theorem differ from the mean value theorem?

Rolle's theorem states that for a continuous real valued
function f(x) in a closed interval  (a, b) and differentiable in the open interval
(a,b), b> a with f(a) = f(b) , there exists a point c where f'(c) =
0.

The mean value theorem states that for a continuous real
valued function f(x) in the closed interval (a,b), and differentiablen the open interval
(a,b), b > a there exists a point c in (a,b)  for
which

f'(c) =
(f(b)-f(a))/(b-a).

If we examine both theorems, it looks
Rolle's theorem is a special case of mean value
theorem. 

In Rolle's f(a) = f(b) . In mean value theorem
f(a) and f(b) are not equal. 

In rolle's theorem f'(c) = 0
. The curve has a tangent || to x axis.

In the mean value
theorem the slope f'(c) is not zero. f'(c) is the slope of the tangent at the point c
and this tangent is not parallel to x axis. But this tangent is || to the line joining
(a , f(a) ) and the point (b , f(b)) the end points of the
curve.

Hope this helps.

Elaborate on what Mayella's daily life was like and explain the significance of her name 'Mayella Violet Ewell'

Living without a mother for longer than she can remember,
Mayella has the responsibilities of the home completely upon her since the father
reportedly drinks away the government check that the family receives. Occasionally, Bob
Ewell will shoot a squirrel or rabbit and Mayella can cook it in order to feed her seven
siblings--although no one is sure how many children are in the Ewell
family.

In Chapter 17 of To Kill a
Mockingbird, Scout describes the habitat of the Ewells where no truant
officers

could
keep their numerous offspring in school; no public health officer could free them from
congenital defects, various worms, and the disease indigenous to filthy
surroundings.

Mayella and her
siblings "gave the dump a thorough gleaning every day," and they scatter the refuse of
this scavenging promiscuously around their bare plot of ground.  But, at the corner of
the yard, against the fence, there are six chipped slop jar lined up; these
contain"brilliant red geraniiums," for which Mayella obviously cares tenderly--hence,
her middle name of Violet.  This action of Mayella suggests that she possesses a womanly
attraction to things of beauty and would like to have pretty things of her
own.

When Mayella testifies in a later chapter of the
novel, she says that what her father does with her does not "count," so inferences can
be made that Bob Ewell subjects his oldest daughter to sexual abuse as well as physical
abuse, abuses, it seems, that she accepts as part of her life.  Obviously, she is very
lonely as she asks Tom Robinson to help her often when he walks down from his shack and
passes the Ewells' on the road.

Can a set of three numbers be in AP as well as GP?

Let us see algebraically, whether this is
possible.

Let a, b and c  be 3 numbers which are in both AP
and GP.

Since the numbers are in AP, a+c =
2b.........(1)

Since the numbers are in GP , ac = b^2
......(2).

From (1), c = 2b-a, Substitute  2b-c for c in
(2):

a(2b-a) = b^2.

Therefore
b^2- 2ab + a^2 = 0

Or  (b-a)^2 =
0.

Or a = b.

Or  (a,b,c ) =
(a,a,a,).

That implies the common diffrence = a-b = 0 and
the common ratio is b/a = 1.

Under the special case, a,a
and a are an AP with common diffrence d = 0 and a,a and a are in GP with common
diference d =1.

Rectangle lengthThe lenghts of arectangle is two inches more than its width. If the lenghth is increased by four inches and the width is doubled, a...

We'll establish the dimensions of the original
rectangle:

 - the width: x

 -
the length: x + 2

The area of the original rectangle
is:

A1 = x*(x+2)

We'll
establish the dimensions of the new formed rectangle:

 -
the width: 2x

 - the length: (x + 2) + 4 = x +
6

The area of the new rectangle
is:

A2 = 2x(x+6)

We know from
enunciation that the new area is 75 more than the area of the original
rectangle.

A2 = 75 +
A1

2x(x+6) = 75 + x(x+2)

We'll
remove the brackets:

2x^2 + 12x = 75 + x^2 +
2x

We'll move all terms to one
side:

2x^2 + 12x - 75 - x^2 - 2x =
0

We'll combine like
terms:

x^2 + 10x - 75 =
0

We'll apply the quadratic
formula:

x1 = [-10+sqrt(100 +
300 )]/2

x1 = (-10+20)/2

x1 =
5

x2 = (-10-20)/2

x2 =
-15

Since the measure of a side cannot be negative, we'll
reject the second negative value.

So, the
width of the original rectangle
is:

x = 5
inches

the length: x + 2 = 7
inches

What could be used as a three-dimensional prop to represent or symbolize Tom Robinson in To Kill a Mockingbird?

It is hard to tell from your question exactly what you are
looking for, but I assume this can be an abstract or "artistic"
prop.

Personally, when I think of Tom Robinson, I think of
a couple things (physically): The first is his withered/crippled left hand which was the
result of an accident with a cotton gin when he was a child.  The book describes his
left arm as a full "twelve inches" shorter than his right arm.  I'm not sure of an
object you could use for this, but anything that showed his one bad arm would tap in to
a key element of his innocence that is ignored by the
jury.

The other physical picture that I associate with Tom
Robinson is that of an axe.  He is asked by Mayella to come in and "bust up a
chiffarobe."  Though he only has one working hand and arm, he testifies that she had
asked him on several occasions to come in to the yard and do other little odd jobs for
her like chopping wood.  Link Deas interrupts the court to announce how good of a worker
Tom Robinson is.  I think an axe could symbolize both his strength and his
ability/willingness to work.

What would be the direct and indirect characterization in "The Gift of the Magi"?

It can be difficult at times to distinguish between
indirect and direct characterisation. However, direct characterisation can only ever
occur in a story with a third person point of view, as it is when the writer tells us
directly about what a character is like or what a person's motives are. Indirect
characterisation is anything that allows us to infer something about a character, but it
is not stated directly.

For example, in the story, we can
tell through the setting and action that Jim and Della are poor. Consider how their
apartment is described:

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A furnished flat at $8 per week. It did not
exactly beggar description, but it certainly had that word on the lookout for the
mendicancy squad.

This is
indirect characterisation - the author does not tell us directly that they are poor, but
it is made clear indirectly through their setting.

However,
later on, the author uses direct characterisation to tell us about the motives of Della
and her purpose for saving money:

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Tomorrow would be Christmas Day and she had only
$1.87 to buy a present for Jim. Her Jim. Many a happy hour she had spent planning for
something nice for him. Something fine and rare and sterling - something just a little
bit near to being worthy of the honour of being owned by
Jim.

Note here how the author
directly tells us her motives for saving the money and how much she loves him. This is
clearly an example of direct characterisation, as it directly reveals to us information
about Della and her motives for trying to save money.

Hope
this helps! Good luck finding more examples in this great short
story.

Solve the equation: 5x^2 + 13 x +8 =0

The quadratic equation 5x^2 + 13x  +8 =0 has to be
solved.

The solution of quadratic equation ax^2 + bx + c =
0 is given by the formula `(-b+-sqrt(b^2 - 4ac))/(2a)`

For
5x^2 + 13x  +8 =0, a = 5, b = 13 and c = 8. Substituting these values in the formula for
the roots gives:

`(-13+-sqrt(13^2 -
4*5*8))/(2*5)`

= `(-13+-sqrt(169 -
160))/(2*5)`

=
`(-13+-sqrt(9))/(2*5)`

= `(-13 - 3)/10` and `(-13 +
3)/10`

= -1.6 and -1

The roots
of the equation are -1 and -1.6

What role does the description play in the novel?how to write a thesis based on the story ?

Description/Narration builds the very novelistic fabric. A
novel usually tells a story, portrays characters, presents the setting, evolves an
atmosphere, works out a philosophical attitude to life. In every field,
descriptive/narrative art of the novelist is called into service. The setting has to be
described with necessary details so that it suits the growth of the novel's plot.
Description of the characters-- their appearance/exterior as well as their
minds/motives/interior--constitute a crucial part of the novel's unfolding pattern. An
episode/action/event involves appropriate descriptive skill. Authorial comments and
philosophical reflections also depend upon descriptive art. A work of prose-fiction is
chiefly grounded in the author's excellence in description/narration. It is obviously
much more than mere mechanical accumulation of
information/detail.

What is the mood of "To His Coy Mistress" by Andrew Marvell?

I think to answer this question you need to remember what
this poem is all about: the speaker is trying to persuade his audience to love him now
and not to be "coy." The speaker dwells on the details of human mortality with morbid
precision, to make his beloved feel that even immoral behaviour while alive is
preferable to being good but dead. The first section of the poem slowly and languidly
talks about how he would court his love if he had
time:

We would
sit down, and think which way

To walk, and pass our long
love's day.

The speaker says
he would spend a very long time praising her beauty and her various qualities, because
she "deserves this state" and he would certainly never want to "love at lower rate." So
the poem in this part is slow and sure in its praise of the beauty of the love of the
speaker. However, it is in line 21 that we see a distinct change of mood - from relaxed
to rushed and hurried. The voice of the speaker becomes urgent as he hears "Time's
winged chariot hurrying near" and he reflects upon the "Deserts of vast eternity" that
lie before them because of the mortality of human beings. Thus the message emerging from
this change of tone is clear - we do not have all eternity, because we are going to die
soon, so seize the day and love me with such passion and
intensity:

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Thus, though we cannot make our
sun

Stand still, yet we will make him
run.

Does anyone believe the violence between Israel and Palestine will ever end? Why or Why not?

I do not think that it will end in the near term, but it
is impossible to say with certainty that something will never end.  There are too many
things that can happen to cause changes.  After all, who would have thought in 1980 that
the Cold War was going to end?  Who would have thought in 1820 that slavery in the US
would end.

I do not see it ending in my lifetime, though. 
It just seems that the divisions are too deep and that pressures today are making things
worse rather than better.  I would say that there are at least two issues that make it
very unlikely for the violence to end soon:

• The
  issues Israel and the West have with Iran.  These make it harder for us to accept a free
  Palestinian state since it is so closely tied (especially Hamas) to
  Iran.


• The perceived conflict between Islam and the West. 
  This makes compromise very difficult.

What is the significance of this quote in Chapter 14 of The Scarlet Letter?“Ye that have wronged me are not sinful, save in a kind of typical...

On this chapter, Hester and the
Physician, Hester was out in the seaside when she finally meets
Chillingworth, and dares to confront him about his treatment of
Dimmesdale.

She requested him that, for his own sake, he
should just leave Dimmesdale alone and allow for fate to take care of whatever
punishment (further punishment) the man should
receive.

This, of course, was not an option for
Chillingworth, whose hatred for Dimmesdale was outrageous. Therefore, Hester told him
that she will expose him to Dimmesdale so that Dimmesdale can protect himself from
him.

The quote "Ye that hath wronged me...." is
Chillingworth's way of telling Hester "what is done is done, and had to be done because
it is our fate". He realizes that he, who once was a learned and good man had been
chosen by fate to endure what Hester did to him. Equally, Hester was elected by
"providence" and bad luck to be tempted by Dimmesdale, and Dimmesdale weak nature
tempted Hester.

That is the black flower that he is
referring to: Their fates were already pre-destined (as it is commonly believed by
Puritan and Calvinists of that period) and hence all that was taking place was meant to
happen. Hence, he had no power to stop it.

How do Mrs. Turpin and Claude from Flannery O'Connor's "Revelation" compare and contrast with the Grandmother and The Misfit from "A Good Man is...

Similarities and differences exist between many characters
in Flannery O’Connor’s stories, including between Claude and Mrs. Turpin in “Revelation”
and the grandmother and The Misfit in “A Good Man Is Hard to Find.”  In the case of
these two stories, however, the differences seem perhaps more significant than the
similarities.

• Claude and The Misfit have very
  little in common.  Claude is a good-natured, passive man who seems totally dominated by
  his overbearing wife.  The Misfit, on the other hand, is a genuinely evil murderer who
  seems dominated by no one.


• The grandmother is
  manipulative, self-centered, and hypocritical, but she is a saint compared to Mrs.
  Turpin.


• The grandmother is afflicted by pride, as
  everyone is (at least from O’Connor’s perspective), but Mrs. Turpin is almost literally
  sick with pride, as her imaginary conversations with Jesus show – conversations in which
  she is obsessed with feelings of superiority.


• The
  grandmother uses the “n-word” casually, less because she is a vehement racist than
  because such language was typical of people of her age and background. Mrs. Turpin,
  however, seems far more consciously and deliberately racist than the grandmother.
  


• Mrs. Turpin is, quite literally, a more “hateful” person
  than the grandmother.  The grandmother is, after all, quite capable of making loving
  gestures, as she shows at the very end of the story but as she also demonstrates
  earlier:

readability="8">

The grandmother offered to hold the baby and the
children’s mother passed him over the front seat to her.  She set him on her knee and
bounced him and told him about things they were passing. She rolled her eyes and screwed
up her mouth and stuck her leathery thin face into his smooth bland one. Occasionally he
gave her a faraway
smile.

Mrs. Turpin feels some
genuine affection for Claude, but in general she spends much of the story merely finding
fault with others.

• The grandmother’s life is
  transformed in an instant – in the instant when she reaches out and touches The Misfit
  in a gesture of love and compassion and is immediately shot as a result.  Mrs. Turpin,
  however, has most of the story to contemplate the “revelation” she receives when Mary
  Grace literally throws the book at her (a book titled Human
  Development). By the end of the story, when Mrs. Turpin receives an even
  greater and more profound revelation, she is given the chance to act on this new insight
  because she is still alive.  However, although the grandmother is physically dead by the
  end of “A Good Man Is Hard to Find,” her own revelation and her response to it may
  already have secured her a place in heaven, as O’Connor perhaps suggests when she writes
  that the grandmother's legs were “crossed under her like a child’s and her face [was]
  smiling up at the cloudless sky.”


• Interestingly, both
  women, at the ends of the two stories, are looking up into the sky, although the
  grandmother is physically dead, while Mrs. Turpin has the opportunity, thanks to her
  revelation, to live a richer, fuller, better life if she responds to her revelation as
  one hopes she will.

What is implied by Tolstoy's calling them not friends, but "nearest acquaintances"?

In "The Death of Ivan Ilyich," prior to being sick and
near-death, Ivan had only acquaintances, not friends.  Acquaintances are formal, but
friends are intimate.  Acquaintances are bothered by death; friends are tolerant.
 Acquaintances go through the motions of mourning; friends actually
grieve.

Before he dies, he will have made one friend,
Gerasim.

Gerasim did it all easily, willingly,
simply, and with a good nature that touched Ivan Ilych. Health, strength, and vitality
in other people were offensive to him, but Gerasim's strength and vitality did not
mortify but soothed
him.

AND:

Only
Gerasim recognized it and pitied him. And so Ivan Ilych felt at ease only with
him.

AND:

Gerasim
alone did not lie; everything showed that he alone understood the facts of the case and
did not consider it necessary to disguise them, but simply felt sorry for his emaciated
and enfeebled master. Once when Ivan Ilych was sending him away he even said straight
out: "We shall all of us die, so why should I grudge a little
trouble?"

The culture of 19th century czarist
Russia was heavily bureaucratic.  To be in society was to be a cog in a machine, to do
the same work--day in and day out--with little hope for advancement or reprieve from
paperwork and frustration.  As such, Ivan treated his co-workers with detachment and
formality.  Private conversations were prohibited.  The society was engineered for
efficiency; close relationships were not productive.  This obviously carried over into
his marriage and family life, for he took all for
granted.

Even his wife and family are acquaintances only.
 His wife and relatives and doctor go through the motions of friendship and nursing, but
they are not friends or nurses.  They are detached, as he is, even in the rituals of
sickness and death.  Ivan is merely something to be tolerated, and
they treat him as a kind of sickness, as a dying man, not as a friend, or even a
person.

They do not acknowledge him, as Gerasim does, with
dignity and respect.  They do not cater to him even when he is ashamed of his condition
and does not want to be seen.  Only Gerasim exhibits a kind of primitive Christian
charity and unconditional love.   Ironically, Gerasim has not been conditioned by the
bureaucracies; as servant of the peasant class, Gerasim has learned to be humble and
long-suffering, kind to the sick.  Only he sees Ivan as a human being, not a cog in a
machine or a sickness unto death.

What are some useful tips on how to write a persuasuve piece for English?

First of all, decide what it is that you want to persuade
your readers about.  I suggest that you pick something that is fairly complex.  For
example, you don't want to pick a thesis statement such as, "Murder is wrong," because
there really aren't two sides to the question.  Thesis statements like "Abortion should
be illegal," or "Social Security benefits should be improved by raising taxes on the
rich" are much better, because there are most definitely two sides to these
questions--even if you agree strongly with one of the
sides.

Make a list of reasons that support the position
that you are going to take.  Also, make a list of some of the ideas that are put forth
by those who disagree with your position.

Most of your
essay should be about explaining your position and the reasons that you feel support
it.  However, you should also spend some "time" (perhaps one paragraph) disproving some
of the arguments that are made by those who oppose your
position.

Find the equation and the area of the circle if the ends of the diameter (18,-13) and (4,-3).

To find the equation and the area of the circle if the
ends of the diameter (18,-13) and (4,-3).

The midpoint of
the diameter is the centre of the circle.

The ends of the
diameter are A(18,-13 and B(4,-3).

Therefore the coordinate
of the centre C(x,y) is given by:

C(x,y) = ((Ax+By)/2,
(Ay+By)/2))= ({18+4)/2,(-13-3)/2))).

The  radius of the
circle = semidiameter .

Diameter = distance between A and B
=  sqrt{(Bx-Ax)^2+(By-Ay)^2} =  sqrt{((4-18)^2 +(-3-13)^2} = sqrt(196+100) =
sqrt296.

Therefore radius r of the given cicle = diameter/2
= sqrt296/2 = sqrt74.

r = sqrt
74.

C(x,y)=(11,-8), r =
sqrt74.

The equation of the circle with centre (h,k) and
radius r is (x-h)^2+(y-k)^2 = r^2. Substitute the value for (h,k) = C(11,-8) and r^2= 74
and we get:

(x-11)^2+(y-(-8))^2= 74 is the equation of the
circle with A(18,-13) and B(4,-3) as diameter. We convert this into another standard
form by expanding and rearrging the equation,(x-11)^2+(y-(-8))^2=
74.

x^2-22x+121+y^2+16x+64 =
74.

x^2+y^2-22x+16x-10 = 0 is the standard form of the
equation of the same circle .

What is Herbert saying in this poem?

What Herbert is saying in this poem is that it is the
stresses of every day life that are going to bring us closer to God.  He is saying that
God knows that and that is why he does not give us "rest" alone out of all the gifts he
could have given us.

Herbert envisions God giving out gifts
and wondering how exactly to make people.  He envisions God deciding that the best way
to make us seek him is to deprive us of rest.  By saying this, he is saying that we turn
to God when we are tired, stressed, and in need.  This may not say good things about us,
but it does seem to be the truth.

What are some different aspects of Romeo's character in Act 1 of Romeo and Juliet.

At the beginning of Act 1, Romeo is mourning the fact that
Rosaline, a girl he is in love with, does not want to marry him. Shakespeare conveys the
turmoil which love causes and the state of Romeo’s mind, with the use of oxymoron’s such
as ‘Oh loving hate’ in Act 1 scene 1. This imagery is used throughout the act by Romeo
in his attempt to describe his love for Rosaline and it works very effectively as it
takes the audience or reader back and forth with Romeo’s love for Rosaline and his
despair that she does not love him back thus conveying the confusion that Romeo
feels.

You also realise throughout scene 1, that Romeo is
obsessed with the idea of being in love, instead of actually being in love, which comes
to light when he first sees Juliet and then he realises what true love is. His immediate
love for Juliet shows Romeo as fickle and insincere as soon as he sees Juliet he asks
‘Did my heart love till now?’ suggesting that he forgets about Rosaline instantly. This
shows that he changes his mind extremely quickly from being eternally in love with one
girl one moment to a different girl not long after. However, you realise that his love
for Juliet goes much deeper than that of his love for Rosaline and this is shown when
Romeo recites a sonnet Juliet conveying his immediate love for
her.

Romeo also uses a lot of hyperbolic language and
imagery while describing his love for Rosaline, suggesting that she is ‘killing him’ as
she has sworn not to marry. This theme is used throughout the act, especially when he
first meets Juliet, as although he has only just met her he compares her to a ‘saint’
and a ‘shrine’. This hyperbolic language helps to show Romeo’s passionate character as
he exaggerates his love to such an extent and it conveys how deeply Romeo is affected by
love and by what surrounds him suggesting that beneath his impulsive, some what shallow
and over the top exterior he is extremely sensitive and younger than he is
perceived.

How is the aim of making everbody happy achieved?

This goal is achieved in a number of
ways:

• First, the state engineers the people to
  have levels of intelligence that match the work that they will do.  That way, you don't
  have really smart people having to do mindless work and, therefore, being unhappy with
  their lives.


• Second, there is all the conditioning that
  goes on throughout their lives.  The people have ideas drummed into their heads as they
  sleep -- things like the idea that their caste is best and it would be miserable to be
  of another caste.


• Third, there is soma and other drugs. 
  People are drugged to make calm them down and to make sure their emotions don't get out
  of control.


• Finally, there is sex and various sports. 
  These are meant to make sure that people are always occupied doing physical stuff.  They
  don't have to sit around idle, thinking about things that might make them
  unhappy.

Solve for x: log(2) x = log(8) 256

For any system of logarithms we can use the relation: log
(a) b = log(x) a / log(x) b where x can be any positive number to be use as the
base.

Now using x= 2,

log (8)
256 = log(2) 256 / log(2) 8.

But we know that log(2) 8
=3

Also log (2) 256 = 8

So
log(2) 256 / log(2) 8 = 8/3

Or log(2) x =
8/3

Raising both sides to the power 2, we
get

x =
2^(8/3)

Therefore x =
2^(8/3)

What is the sum of the terms of the series 2 , 6 , 10 , .. , 402 ?

We notice that if we'll calculate the difference between 2
consecutive terms of the given series, we'll obtain the same value each
time:

6 - 2 = 10 - 6 = ...... =
4

So, the given series is an arithmetic progression whose
common difference is d = 4.

We can calculate the sum of n
terms of an arithmetic progression in this way;

Sn = (a1 +
an)*n/2

a1 - the first term of the
progression

a1 = 2

an - the
n-th term of the progression

an =
402

n - the number of
terms

 We can notice that we know the first and the last
terms but we don't know the number of terms. We can calculate the number of terms using
the formula of general term.

an = a1 +
(n-1)*d

402 = 2 +
(n-1)*4

We'll remove the
brackets:

402 = 2 + 4n -
4

We'll combine like
terms:

402 = 4n - 2

We'll add
2 both sides:

4n = 404

We'll
divide by 4:

n = 101

So, the
number of terms, from 2 to 402 is n = 101 terms.

S101 = (2
+ 402)*101/2

S101 =
404*101/2

S101 =
202*101

So the sum of the terms of the
arithmetic progression is

S101 =
20402

Given the polynomial f(x) = 4x^3 - 12x^2 + ax + b, find a,b, if f(x) is divisible by (x^2 - 1).

Given f(x) = 4x^3 - 12x^2 + ax +
b

Given that f(x) is divided by
(x^2-1)

Then (x^2 -1) is a factor of
f(x).

Then the roots of (x^2 -1) are the solutions to the
function f(x).

==> x^2 -1 =
0

==> x1 = 1

==>
x2= -1

Then x = -1 and x= 1 are roots of
f(x).

==> f(1) = f(-1) =
0

Let us
substitute.

==> f(1) = 4(1^3) - 12(1^2) + a(1) + b =
0

==> 4 - 12 + a + b =
0

==> a + b = 8
.............(1)

==> f(-1) = 4(-1)^3 -12(-1^2) +
a(-1) + b = 0

==> -4 - 12 - a + b =
0

==> -a + b = 16
...............(2).

Now we will add (1) and
(2).

==> 2b =
24

==> b =
12

==> a =
-4

==> f(x) = 4x^3 -
12x^2 -4x + 12

In The Kite Runner, after the kite tounament why did Hassan run the blue kite for Amir?

We find the answer to this question in Chapter 7, which
features the kite tournament and also the terrible, shocking aftermath, that will change
the fates of Hassan and Amir and their relationship for ever. What is key to realise in
the early stages of this novel is how the relationship that Hassan has with Amir is
presented. Although Amir is somewhat ambiguous in his feelings for Hassan, treating him
half of the time as a servant and the other half as a friend, to Hassan, Amir is a
brother to be loved and respected with a love that is self-sacrificial in the extreme.
This is why, after their triumph in the kite competition, he is eager to make sure his
master triumphs in the kite running as well, and decides to run for the blue kite, the
most prized kite to gain. Note how his love for Amir is made clear when he leaves to
pursue it:

He
was already turning the street corner, his rubber boots kicking up snow. He stopped,
turned. He cupped his hands around his mouth. "For you a thousand times over!" he said.
Then he smiled his Hassan smile and disappeared around the
corner.

Note how his words
show and express his devotion and love. The author uses these words at the very end of
the novel in a very different but also similar situation to act as a symbol of the same
love and self-sacrifice, but now between Amir and Hassan's son.

In "The Hunger Artist," what is the relation between the artist and those who watched him?

You have asked an excellent question about this
fascinating story. One central theme that can be clearly identified is the relationship
between the artist and their audience - note the title of the story and the way that the
central protagonist calls himself an "artist." Kafka seems to be using the hunger artist
to raise serious questions about the relationship between the artist and their
audience.

It is important to note that the hunger artist
dedicates himself totally to his career. He craves the attention and wonder that his art
gains and is delighted when the whole town is interested in his
art:

He was
quite happy at the prospect of spending a sleepless night with such watchers; he was
ready to exchange jokes with them, to tell them stories out of his nomadic life,
anything at all to keep them awake and demonstrate to them again that he had no eatables
in his cage and that he was fasting as not one of them could
fast.

Yet, although the
interest, appreciation and curiosity of the crowd brings him joy, he remains deeply
unsatisfied with his performance. He feels limited by the 40 day fasting limit imposed
on him and also feels that the audience really do not appreciate his art in the way it
should be:

readability="13">

Why stop fasting at this particular moment,
after forty days of it? He had held out for a long time, an illimitably long time; why
stop now, when he was in his best fasting form, or rather, not yet quite in his best
fasting form? Why should he be cheated of the fame he would get for fasting
longer...?

We can imagine
that his struggles with his relationship with the audience is typical of many artists,
who want their art to be appreciated for what they feel it is, rather than the
packaged-for-presentation nature of art that is savoured by the public. Eventually, his
art goes out of vogue and he is consigned to a circus and, ironically, given free reign
to practice his art for as long as he wants, but to a disinterested
audience.

"The Hunger Artist" therefore raises serious
questions about the relationship between artists and their audience, and the struggle
between the purity of art and the way that art is often misinterpreted or misrepresented
to an uncaring and fickle audience.

To what extent the island is an allegory/microcosm of society at large in the series "Lost"?What are the different aspects of insular society...

The island can be seen as a microcosm of society.  In its
most symbolic form, the island can be seen as a pure state of nature.  The idea of the
passengers aboard the plane being set adrift on this island and seeking to navigate
through the demands living on it help to bring out the idea of how human beings can work
through the state of nature.  This also helps to bring out much of the personality
differences that are present.  The notion of an insular social order is brought out by
the island because it is the backdrop where so much of human reality is evoked.  The
idea of having to work together in the first season and the meeting of "the Others"
assists in highlighting the ideas of how insular social orders work when working through
other insular notions of the social good.  The island might be its own character in that
it provides the backdrop upon which all of these challenges are
navigated.

What are some of the main medical, mental, social, or environmental challenges facing this person?A Russian woman of approximately 69 years,...

There are many challenges in this case study.  I would
suggest that there might be some level of early onset for Alzheimer's Disease.  The
description that scientists use to articulate it in the early stages is "insidious," in
that the onset of it is stealth and not entirely evident.  The fact that the woman was
able to prepare things for herself, and then suffered a moment or two where this became
difficult would indicate to me that Alzehimer's Disease is a challenge that might be
present.  The dementia that is often a part of the disease might be present in the need
to "visit someone" and then speaking in an incoherent manner.  It sounds like to me that
some tests to be able to detect if Alzheimer's is at play or where the woman is in her
stages of Alzehiemer's.  The age of the woman and the sex might be two indicators that
Alzheimer's is present. Casts of the disease are present in patients over 65 and women
at slightly higher risks than men would indicate as such.

Annie gives two reasons in The Miracle Worker why Helen should not be put into an asylum. What are they?

This is actually a very complex question because you have
to read between the lines to find the answer.  After examining the text, I believe there
are actually three reasons that Annie gives to the Kellers in order
to convince them not to put Helen in an asylum, and two of them have to do with both
Annie and Helen having strong characters.  In short, Annie is determined, the asylum
contains unspeakable horrors, and Helen is strong.  Now let's look at each in
turn.

This conversation begins with a misunderstanding when
Annie, in frustration, exclaims that "It's hopeless here."  Annie means that it's
hopeless in the Keller household because of the pity the family has
for Helen.  The Kellers mistakenly think Annie is giving up on Helen and, in their
pleading, mention the asylum they considered before Annie arrived.  That is what begins
the conversation where we can find these three
reasons.

First, Annie finally corrects the Kellers by
telling them she is determined to help Helen.

readability="10">

Kate:  You said it was
hopeless.

Annie:  Here.  Give up, why, I only today saw
what has to be done, to
begin!

Now
that is a determined woman!  Annie, then, out of her own
determination won't allow the Kellers to put Helen
away!

Second, Annie uses the actual horrors of the state
almshouse as her second reason.  She mentions everything:  rats, unsanitary conditions,
disease, prostitution, rape, severe mental illness, death, and children playing among
the dead bodies.

readability="7">

The room Jimmie and I played in was the
deadhouse, where they kept the bodies till they could dig the
graves!

In reality, if you
wanted to count each of these reasons separately you would have a plethora of reasons
why not to send Helen to an asylum!

Finally, Annie mentions
Helen's own strength.  This particular reason is stated point-blank:  "I don't think you
need send Helen there.  She's strong enough."  Annie, then, has confidence enough in
Helen's strength of character to know that Helen could, in fact, learn to conquer her
condition.

Thus, as you can see, there are multiple reasons
that Annie gives in opposition to Helen being sent to an asylum.  Thank God that Annie
was right, ... she was strong enough to convince the Kellers!

Solve the system using gaussian elimination. x1-x2+3x3=10 2x1+3x2+x3=15 4x1+2x2-x3=6

When Gaussian elimination method is applied, the given
system is transforming into an equivalent triangular
system.

We'll note the equations of the
system:

x1-x2+3x3=10
(1)

2x1+3x2+x3=15
(2)

4x1+2x2-x3=6 (3)

Now,
we'll eliminate the variable x1 from the (2) and (3) equations. For this reason, we'll
multiply (1) by -2 and we'll add it to (2).

-2x1 + 2x2 -
6x3 + 2x1 + 3x2 + x3 = -20 + 15

 We'll combine and
eliminate like terms:

5x2 - 5x3 = -5
(4)

Now, we'll multiply (1) by -4 and we'll add it to
(3):

-4x1 + 4x2 - 12x3 + 4x1 + 2x2 - x3  = -40
+ 6 

We'll combine and eliminate like
terms:

6x2 - 13x3 = -34
(5)

The system is formed now from the equations
(1),(4),(5).

x1-x2+3x3=10
(1)

5x2 - 5x3 = -5 (4)

6x2 -
13x3 = -34 (5)

Now, we'll eliminate the variable x2 from
(4) and (5).

We'll multiply (4) by -6 and (5) by
5:

-30x2 + 30x3 = 30 (6)

30x2
- 65x3 = -170 (7)

We'll add
(6)+(7):

-30x2 + 30x3+30x2 - 65x3 =
30-170

We'll combine and eliminate like
terms:

-35x3 =
-140

x3 =
4

We'll substitute x3 in the equation
(6):

-30x2 + 30x3 = 30

-30x2 +
120 = 30

-30x2 = 30 -
120

-30x2 =
-90

x2 =
3

Now, we'll substitute x2 and x3 in
(1):

x1-3+12=10

x1 + 9 =
10

x1 = 10 -
9

x1 =
1

The solution of the system
is:{1 ; 3 ; 4}.

List and explain 5 ways that Shakespeare manages to create suspense in act 1 of Hamlet.

1) At the very beginning of Act I Scene 1, the two
sentinels, Bernardo and Francisco, confront each other during night watch.  Bernardo
asks, "Who's there?"  Francisco insists that it is the other man who must identify
himself: "Nay, answer me.  Stand and unfold [identify] yourself."  This scene hints to
us that there will be dangerous circumstances ahead.

2)
Again, in Scene 1, we learn that some "dreaded sight" has appeared to some of the
sentinels.  No better way to build suspense than to suggest that ghosts are running
about! 

3) In Scene 2, we learn that the previous King has
died and the new King's marriage to the Queen has been accompanied by a "dirge."  Yet we
are not given any information about how the King has died. 
Unexplained death is always a good suspense-builder.

4)
Again in Scene 2, we learn that Denmark is being threatened by Fortinbras of Norway, who
is demanding the return of lands that had been lost by his father.  Possible War =
Suspense.

5) In Scene 4, Horatio, Marcellus, and Hamlet
wait for the appearance of the Ghost, at midnight on a "nipping" cold
night. 

What is the only difference between the Party and the Nazis in 1984?

I am sure there exists more than one difference between
the the regimes mentioned.  In my mind, I think that the Party is probably different
than the Nazis because of the mass extermination of people.  Certainly, the Party and
Big Brother are guilty of their share of liquidations.  Yet, we don't get the feeling in
Orwell's work that what they do is on the level of Hitler's camps.  We don't see the
death camp vision in the Party that is so intrinsic to the Nazis.  For example, we don't
see a Treblinka or an Auschwitz in such magnitude with the Party.  We don't get the
feeling that the systematic annihilation of a particular group of people is at the
forefront of the Party.  Perhaps, they already have done this to solidify their own
power and now they neednt do so.  Yet, I don't sense that the taking of life that was so
much a part of Hitler's Nazis is as present in the novel.

Complete the squares x^2-14x+_ 9x^2-30x+_ 25x^2+_+36y^2 9x^4/25-_+25x^2/9 x^2+_+1/4

1) To complete the given squares, we'll have to work
according to the formula:

(a+b)^2 = a^2 + 2ab +
b^2

(a-b)^2 = a^2 - 2ab +
b^2

We'll analyze the first
expression

x^2-14x+_

We'll
identify a^2 = x^2 => a = x

To calculate b, we'll
consider the second term of the square:

-14x =
-2*a*b

-14x = -2*x*b

We'll use
the symmetric property and we'll divide by 2x:

b =
-7

Now, we'll complete the square by adding the amount
b^2.

b^2 = (-7)^2

b^2 =
49

(a+b)^2 = (x-7)^2

The
missing term in the quadratic expression is
49:

(x-7)^2 = x^2 - 14x +
49

2) We notice that the missing term is
b^2.

We'll identify a^2 = 9x^2 => a = sqrt 9x^2
=> a = 3x

9x^2-30x+_

To
calculate b, we'll consider the second term of the
square:

-30x = -2*a*b

-30x =
-2*3x*b

-30x = -6x*b

We'll
divide by 6x:

b = -5 => b^2 =
25

The missing term in the quadratic expression is 25 and
the completed square will be:

(3x-5)^2 =
9x^2-30x+25

3) We notice that the missing
term is 2ab.

We'll identify a^2 = 25x^2 => a = sqrt
25x^2 => a = 5x

b^2 = 36y^2 => b = sqrt 36y^2
=> b =
6y

25x^2+_+36y^2

2ab =
2*5x*6y

2ab = 60xy

The missing
term in the quadratic expression is 60xy and the completed square will
be:

(5x+6y)^2 = 25x^2 + 60xy +
36y^2

4) We notice that the missing term is
2ab.

We'll identify a^2 = 9x^4/25 => a = sqrt
9x^4/25 => a = 3x^2/5

b^2 = 25x^2/9 => b =
sqrt 25x^2/9 => b =
-5x/3

9x^4/25-_+25x^2/9

-2ab =
-2*3x^2*5x/5*3

-2ab =
-2x^3

The missing term in the quadratic expression is -2x^3
and the completed square will be:

(3x^2/5 -
5x/3)^2 = 9x^4/25- 2x^3 + 25x^2/9

5) We
notice that the missing term is 2ab.

We'll identify a^2 =
x^2 => a = sqrt x^2 => a = x

b^2 = 1/4
=> b = sqrt 1/4 => b =
1/2

x^2+_+1/4

2ab =
2x/2

2ab = x

The missing term
in the quadratic expression is x and the completed square will
be:

(x + 1/2)^2 = x^2+ x
+1/4

What are the different types of conflict (both external and internal) found in "To Hell with Dying"?Describe the significance of these conflicts in...

Though "To Hell With Dying" has a sad ending, it is not
all bad. The story is filled with recollections of shared joy, love and unconditional
acceptance. There are some conflicts, though the first is probably the only one that
drives the plot.

The conflicts I found are as
follows:

Man vs. the nature would apply to the narrator and
her family fighting the death of Mr. Sweet on a regular
basis.

(It may be important to mention, also, that the
process has taught the children that death is inevitable, and also that their "revival"
can only be done for Mr. Sweet: it will not work on anyone
else.)

Man vs. self is seen in Mr. Sweet's heartache and
suffering over the loss of his wife, still years after her
death.

We might also see this same kind of conflict when
the narrator visits Mr. Sweet for the last time, and at the age of twenty-four, finds
herself somehow stunned with disbelief when she is unable to revive him again; his death
was, after all (as she had learned earlier),
inevitable.

Man vs. man is seen when the people, including
the doctor, at Mr. Sweet's home try to keep the children from his side when they all
believe Mr. Sweet is dying.

Does the text of "A & P" address any universal themes?

One universal theme is individuality and free will. The
girls have to know that they will draw attention by walking into the store in just their
bathing suits. In the context of this story and its time, I would say that their
exhibition is sexually provocative; but not so much as the more modern sense of
self-objectification (as in flaunting promiscuity as the "dumb blonde.") I think it is
more about freedom of expression in general in a 1960s anti-conventionalism. Yeah,
they're young, but they're aware and I think their actions might be seen as juvenile and
making a sort of adolescent anti-traditional
statement.

Sammy, in quiting his job, asserts his free will
and individuality, knowing that this decision will follow him. It may be harder for him
to get a job with this on his record. Like the duality of the girls, who go into the
store in bathing suits just to be noticed and to spite conservatism, Sammy quits to
assert his individuality and free will and to impress or stand up for the girls, who
don't seem to notice.

Why does O'Conner use for violence in her stories (like "A Good Man is Hard to Find") to get the attention of both readers & characters?

O'Connor is an Old Testament "hell, fire, and brimstone"
comic writer who uses grotesques to violently and comically expose her luke-warm
Christian characters.

In "A Good Man is Hard to Find," the
Misfit's accomplice takes the family into the woods and shoots them.  The grandmother
tries to save herself by pleading to the Misfit:

readability="7">

"You've got good blood!  I know you wouldn't
shoot a lady!  I know you come from nice people!  Pray!  Jesus, you ought not to shoot a
lady.  I'll give you all the money I've
got!"

The Misfit
responds:

readability="11">

"Jesus was the only One that ever raised the
dead and He shouldn't have done it.  He shown everything off balance.  If He did what He
said, then it's nothing for you to do but thow away everything and follow Him, and if He
didn't, then it's nothing for you to do but enjoy the few minutes you got left the best
way you can--by killing somebody or burning down his house or doing some other meanness
to him.  No pleasure but
meanness."

Just before it is
her turn to be shot, the grandmother says:

readability="8">

"Why you're one of my babies. You're one of my
own children!"  She touches the Misfit on the shoulder, and he springs back "as if a
snake had bitten him and [shoots] her three times through the
chest."

The Misfit tells his
accomplice to throw the grandmother into the woods with the others,
adding:

"She
would have bee a good woman if it had been somebody there to shoot her every minute of
her life."

O'Connor uses the
Misfit's violence and grotesqueness as a means of showing the grandmother's
self-righteousness and hypocrisy.  Violence is used as a leveling tool to expose the
grandmother's lack of spirituality.  To her, Christ is not a matter of life and
death.

One critic said:

readability="6">

"...[O'Connor's] criminals...are Evil and are
fighting a religious battle within themselves--their belief or disbelief in Christ is to
them a matter of life and
death."

O'Connor provides her
grotesque characters, like the Misfit, higher spiritual ground at the expense of social
moral good because she cares more about their perfervid spirituality (their souls) more
than their nature (that they are evil).  "God, like the Misfit, is a force that can
obliterate anguish, that can destroy all the 'grandmothers' of the world."  Violence, or
the gun to the head, is a perfervid reminder that salvation is a matter of life and
death.

In The Picture of Dorian Gray, what forces caused Dorian Gray to undergo his changes?

The episode when the real transference begins is in
Chapter 2, when Basil unveils his final picture of Dorian and Dorian becomes immensely
depressed when he considers his youthful beauty and then contemplates that his own
beauty will wither and fade with age. Note what he says to justify his dislike of the
painting:

"I
am jealous of everything whose beauty does not die. I am jealous of the portrait you
have painted of me. Why should it keep what I must lose? Every moment that passes takes
something from me, and gives something to it. Oh if it were only the other way! If the
picture could change, and I could be always what I am now! Why did you paint it? It will
mock me some day - mock me
horribly!"

Ironically, of
course, the painting will mock, Dorian, though not quite in the way that he imagined. We
are not told what forces specifically enact the magic of allowing the painting to age
and Dorian to stay in a stasis of youth and beauty, but it is strongly suggested that
these forces are demonic. Consider the two main characters in the novel, apart from
Dorian, Basil and Lord Henry. These two characters seem to perform the function of the
angel and the devil sitting on Dorian's shoulders. Basil always tries to show Dorian
what he could be, whereas Lord Henry leads Dorian on into ever-greater depths of
hedonism and unthinking selfishness. Certainly this Mephistopheles-like role that Lord
Henry plays hints strongly at the demonic.

What is the idea behind "Homage to my Hips"?

readability="3.8541666666667">

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This is a poem that
surprises by its frankness. The line lengths are uneven and free, perhaps suggesting a
swaying, dancelike motion. The structural development is also free and spontaneous. In
lines 1, 5, 8, 11, and 12, new units begin with the phrase these hips. Elsewhere, the
structure is governed by the repetition of they. These structures all suggest movement.
The freedom and informality suggested by the motion is also complemented by the poem’s
lack of capitalization.
The topic of a speaker’s hips is not the usual subject
material of poetry. The attitude expressed here is not only that the speaker speaks
freely about her hips, but demonstrates total delight in them, without embarrassment but
with pride and the memory of delight and power.

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Solve for x: square root of 7x+14 = x

Before solving the equation, we'll impose conditions of
existence of the square root.

7x+14 >=
0

Wer'll subtract 14 both
sides:

7x >= -14

We'll
divide by 7: x >= -2

The interval of admissible
solutions for the given equation is:

[-2 ,
+infinite)

Now, we'll solve the
equation:

sqrt 7x+14 = x

We'll
square raise both sides:

7x + 14 =
x^2

We'll move all terms to one side and we'll use the
symmetrical property:

x^2 - 7x - 14 =
0

We'll apply the quadratic
formula:

x1 =
[7+sqrt(49+56)]/2

x2
=  [7-sqrt(49+56)]/2

since sqrt 105 = 10.24
approx

x1 =
(7+10.24)/2

x1 = 8.62
approx.

x2 =
(7-10.24)/2

x2 = -1.62
approx.

Since both values belong to the
interval of admissible values, they are accepted as solutions of the given
equation.

In Oedipus Rex, how does Scene 1 compare with the Prologue in presenting the character of Oedipus?

As Oedipus begins his search for the person responsible
for the misfortune of Thebes, there is tremendous dramatic irony as each of the
characters that come forth to present evidence are reluctant to do so, as they either
know or suspect what Oedipus has yet to discover - that he is searching for himself.
This demonstrates the change in Oedipus between the Prologue and Scene
1.

In the Prologue Oedipus is presented as a model
king:

Tell
me, and never doubt that I will help you

In every way I
can; I should be heartless

Were I not moved to find you
suppliant here.

Clearly
Oedipus shows that he is concerned, sympathetic, and eager to help his subjects. He
takes his position seriously and recognises that as King of Thebes he must take
responsibility for sorting out the problems that his kingdom and his people are facing.
Note how this opinion is reinforced by Oedipus's reference to his subjects as "Poor
children".

However, in Scene 1, we see that Oedipus, driven
by his desire to find out the identity of the killer of Laius, insists that Teiresias
reveal what he knows. The reluctance of Teiresias to share his knowledge drives Oedipus
to insult him:

readability="7">

What a wicked old man you are! You'd try a
stone's

Patience! Out with it! Have you no feeling at
all?

He goes on to call
Teiresias "arrogant", "shameless", "worthless" and
finally:

You
sightless, witless, senseless, mad old
man!

Teiresias, who
ironically only wants to not hurt Oedipus by the truth, suffers the wrath of Oedipus for
wanting to help him. Oedipus is presented in a negative way as his thirst for the truth
is driving him to insult a respected prophet.

Therefore the
significant difference concerns Oedipus's presentation as the ideal king, who then moves
to insult and curse those who are reluctant to give him the information he is looking
for.

Check if the function f(x)= 10x^2 - 2x + 5 as extreme values.

The given function has a single extreme value, namely a
minimum value (bcause the coefficient of x^2 is positive). The minimum value is
represented by the vertex of the parable, whose expression is 10x^2 - 2x +
5.

The coordinates of the vertex are: V(xV ,
yV):

xV = -b/2a

yV =
-delta/4a

delta = b^2 -
4ac

We'll identify the coefficients
a,b,c:

a = 10

b =
-2

c = 5

Now, we'll determine
the coordinates of the vertex:

xV =
-(-2)/2*10

xV =
1/10

xV =
0.1

yV = -(4 -
200)/4*10

yV = 196/4*10

yV =
49/10

yV =
4.9

The function has just one
extreme point and it's coordinates are: (0.1 ,
4.9).

Another manner to verify
the existence and the number of extreme points of a function is to differentiate the
function.

We'll differentiate
f(x).

f'(x) = (10x^2 - 2x +
5)'

f'(x) = 20x - 2

We'll
calculate the roots of f'(x):

f'(x) =
0

20x - 2 = 0

We'll divide by
2:

10x - 1 = 0

x =
1/10

The function has an extreme point for any root of the
derivative.

Since the derivative has just one root, the
function will have just a single extreme point.

f(1/10) =
10/100 - 2/10 + 5

f(1/10) = 1/10 - 2/10 +
5

f(1/10) = -1/10 + 5

f(1/10)
= (-1+50)/10

f(1/10) = 49/10