In The Most Dangerous Game, how is the conflict man vs man sharply differentiated good and evil?

By definition, man v. man involves two human beings as opposed
to man v. himself or man v. nature.  For example, a man's struggle with his own feelings would
constitue man v. himself, a man's struggle with a jaguar or tornado would illustrate man v.
nature, and a mental or physical struggle such as that between Rainsford and General Zaroff in
The Most Dangerous Game is man v. man.

Man himself contains both
good and evil.  Man is neither purely good nor purely evil.  Therefore a true, pure battle of
good and evil cannot exist within the conflict of man v. man.  However, one man may be clearly
morally superior to the other, and the reader considers him "good" while the other "evil," but
this is subjective.  Most readers will agree that General Zaroff is "evil" and morally corrupt as
he hunts humans for sport.  Rainsford is likeable and the character we feel the need to cheer
for, making him "good"--if only by default. 

What is the difference between objective correlative and impersonal poetry?

T. S. Elliot's "Impersonal Theory of Poetry" describes the poet
as a chemist. The poet is a mixer, a channel or medium through which traditions, emotions and
meanings flow. The poem is the finished product. Elliot rejected the idea that poetry comes from
the metaphysical unity of the poet's soul; a Romantic notion. Rather, Elliot saw the poet as more
like a synthesizer of feelings via language. This view of the poet is depersonalized. It is
impersonal. The poet as a mere medium for emotion is unaffected by it. Elliot notes that
successful poetry is impersonal because it is outlives the poet; it can become
"timeless."

The objective correlative is a set of objects, events
and situations which correlate with an emotion. Water, sun, time and soil are the set of objects
needed for a plant to grow. Likewise, Elliot said there would need to be an object correlative
for happiness, despair, etc. The objective correlative is then, a formula for an emotion. Running
with the idea of the poet as a chemist, the objective correlative is a formula for describing an
emotion. This is then a device that will result in impersonal poetry because the author does not
have to get emotionally involved or be affected by composing the poem. He/she is just
implementing a formula.

Objective correlative is a formula.
Impersonal poetry is the process and the final artistic product of poetry where the poet composes
timeless poetry and is emotionally distanced from that process and product. A very un-Romantic
notion.

3 ln x - ln 3 = 3

First, we'll impose the constraint of existence of
logarithms:

x>0

Now,
we'll use the power property of logarithms, so that:

3 ln x
= ln x^3

We'll re-write the
equation:

 ln x^3  - ln 3 =
3

Since the bases of logarithms are matching, we'll use the
quotient rule:

ln (x^3/3) =
3

We'll have:

x^3/3 =
e^3

x^3 = 3e^3

x
= e*[(3)^1/3]

Since the
solution is positive, it is valid.

What are the most prominent social issues in As I Lay Dying?

Faulkner's As I Lay Dying does not
rank high on the social issues pecking order, but here are a
few:

Lack of education: Sex
education is non-existent; Dewey Dell doesn't know how she got pregnant.  Anse puts
Cash's leg in a cement cast.  Addie beats her students.  Peabody is an obese doctor who
has to be pulled up the hill.  The family carts around a decaying body for eight days.
 Needless to say, the Deep South needs education
reform.

Mental illness:
Vardaman does not understand death and thinks his mother is a fish.  Darl is committed
to a mental hospital mainly because of his actions (barn burning), not based on a
thorough psychiatric exam.  So, no one knows who's crazy or sane.  It's all based on
social expectation, which--in an illegitimate society--is a recipe for disaster.
 They're all probably nuts.  Or, in that society, they're all sane.  As Cash
says:

readability="8">

Sometimes I think it aint none of us pure crazy
and aint none of us pure sane until the balance of us talks him that-a-way. It’s like it
aint so much what a fellow does, but it’s the way the majority of folks is looking at
him when he does
it.

Social
Class: the Bundrens are dirt poor and lazy.  Even their backwoods
neighbors thumb their noses at them.  The Bundrens' idea of high society is Jefferson,
where they get false teeth, a train, and a back-alley abortion.  They make the Beverly
Hillbillies look sophisticated.

what is ‘Forward Market Hedging’?

Forward market hedging is a way of reducing the volatility in
future profits by creating contracts in advance to buy or sell goods in the
future.

Producers can predict with a fair amount of accuracy what
their production in the future might be and the amount of raw material that they would require.
An increase in the cost of raw material could adversely impact their revenues, so can a decrease
in the selling price of what has been produced.

One of the ways of
hedging this risk is with forward contracts. These are over-the-counter contracts created between
a seller and a buyer to sell or buy a certain quantity of an asset at a certain price in the
future. This eliminates the risk that may arise due to a change in price and also provide an
assurance that a buyer or a seller will be available in the
future.

For example, a farmer who grows wheat and a biscuit
manufacturer can create a contract which specifies that in June the farmer will deliver 100 tons
of wheat with a minimum 25% starch content to the manufacturer at $1 per kilogram. The contract
could also include details like where the delivery has to be made, how the wheat has to be
processed, who checks the quality, etc. By entering into such a contract, the farmer is assured
of receiving $100,000 for the wheat that is grown by him irrespective of what the actual price of
wheat in June is. The biscuit manufacturer is also assured of getting the wheat which is a
primary component in making biscuits at the price that is mentioned in the
contract.

Forward contracts are not traded in exchanges and are
custom made. As there is no clearing house involved here, the chances of default are higher. This
makes it essential to evaluate the ability of the opposite party to honor the contract and to
introduce clauses in the contract to reduce the risk of default for both the
parties.

In "Pathedy of Manners" by Ellen Kay, how does the poem narrate a story with both comic and pathetic implications?

Since we are only allowed to answer one question at a
time, I edited your questions to one.

In the poem "Pathedy
of Manners," by Ellen Kay, the comic elements are mainly in the witty way that the
central character's life is portrayed.  We have a brilliant young woman who uses her
mind to learn the "cultured jargon" of jewelers, to praise the popular artists, and to
learn the art of small talk.  Her education was abandoned for the enlightening
experience in Europe where she met an "impovered marquis" and "learned to tell real
Wedgwood from a fraud." Instead of advancing herself and truly making contributions to
society, the woman engages in trivialities and
materialism.

The humor of this narrative comes from the
tale itself.  Her deeds are reported without judgment as accomplishments  and with
seeming admiration.  She has an "ideal marriage" and an "ideal
house."

Yet we also see beneath the irony a very lonely and
empty existence.  The woman chose to do what she was expected to do.  She followed all
the rules.  She married the right man, had the requisite children, and furnished a
beautiful house.  But after her husband dies and her children leave, the woman herself
finds she has no true identity.  She has no real friends and no mind of her own.  She
will continue to walk in empty circles "to the end." Her life is pathetic, and readers
are acutely aware that her choices have led to a great waste of talent and
intellect.

A circle is tangent to the y axis and has aradius of three units. The center of the circle is in the third quadrant and lies on the graph...

Let  (h,k) be the centre of the circle. Since y  axis is the
tangent,  The normal from the tangent || to x axis passes through the centre of the circle. So h
=| r| , the radius of the circle, radius is given to be 3.

Therefore
h = r = |3 |.   h should be in 3rd quadrant . So h = -3.

Therefore
the centre (h,k) = (-3,k) lies on y-2x. So (-3,k) should satisfy y-2x =
0.

So k -2(-3) = 0.  Or k+5 = 0 . So k
=-5.

Therefore the centre is at (-3, -5) which in 3rd
quadrant.

Therefore the  equation of the is (x-h)^2 +(y-k) = r^2 .
Or

{x-(-3)}^2 +{y- (-5)}^2 =
3^2.

(x+3)^2+(x+5)^2 =
3^2.

x^2+6x+9+y^2+10y+25 =
9.

Rearranging the standard form, we get the equation of the
circle,

x^2+y^2+6x+10y +25 = 0 which has the centre at (-3, -5) and
radius  3 units, toucching y  axis.

What is the reminder if ax^3+bx^2+cx+d is divided by x-2 ?

Since the polynomial is divided by the binomial x-2, the
reminder is a constant.

We'll write the division with
reminder:

ax^3+bx^2+cx+d = (x-2)(ex^2 + fx + g) +
h

The reminder R(x) = h

The fundamental
theorem of algebra states that the reminder of a polynomial divided by a binomial x-a
is:

P(a) = R(a)

We'll substitute x by 2
in the expression of polynomial:

P(2) =
a*2^3+b*2^2+c*2+d

P(2) = 8a + 4b + 2c +
d

The reminder is:

R(2) =
8a + 4b + 2c + d

In the first chapter of The Great Gatsby, what indication is there that Tom and Daisy are closely linked despite their marital difficulties?

What an interesting element to consider, that Tom and
Daisy are "closely linked" almost as an element of foreshadowing that Daisy would
eventually refuse to leave Tom for Gatsby.  Let's begin by exploring the nuances of
their relationship as they first invite Nick Carraway
inside.

First we'll deal with the casual glances, words,
and even jokes shared between them.  I mention this because couples who are, in fact,
not closely linked wouldn't share these kinds of little marital
nuances.  Poor little Daisy has a bruised finger, you know.  Tom is responsible, but the
laughter here is far from accusatory.  It's a joke made with the knowledge that Tom is
in fact a strong and macho man, one that any flapper in the twenties would love to
land:

"That's
what I get for marrying a brute of a man, a great, big, hulking physical specimen of
a--"

"I hate that word hulking," objected Tom crossly,
"even in kidding."

"Hulking," insisted Daisy. 
(12)

Very typical joking
banter and mock-annoyance that can be found in a couple who is, in fact, closely
linked.  There are also even more minute instances like Daisy noticing that "Tom's
getting very profound" and proving that she knows him inside and out (13).  Finally,
there's the shared conquest of linking Jordan and Nick showing that Tom and Daisy are
part of a couple who (at least sometimes) shares a mission, for after discussing their
plans "Daisy and Tom looked at each other for a moment in silence"
(19).

Another hidden piece of evidence that purely shows
that Tom and Daisy are tightly linked can be found in the discussion of where they
live.  You see, Tom is actually from Chicago.  Tom is living in East Egg precisely
because that is where Daisy wants to be.  This is incredibly significant and, quite
frankly, shocking.  On page 6, Nick even says the
following:

readability="6">

[Tom's] family were enormously wealthy ... but
now he'd left Chicago and come East in a fashion that rather took your breath away.
(6)

It suggests that it
wasn't traditional to move away from the family money.  Further, Tom expresses his
determination on the subject a bit later:

readability="11">

"Oh, I'll stay in the East, don't you worry," he
said, glancing at Daisy and then back at me, as if he were alert for something more. 
"I'd be a ... fool to live anywhere else."
(10)

So, there you go: 
Tom stakes his entire life on moving to the East, plans to stay there, and expects Daisy
to do the same.  Their glance shows that this is, in fact, the plan.  The plan doesn't
change by the end of the book.

Finally, it isn't long
before Daisy gets upset about Tom's affair and voices her frustration towards her
daughter, ... and herself.  In reference to the birth, Daisy says, "I'm glad it's a
girl.  And I hope she'll be a fool--that's the best thing a girl can be in this world, a
beautiful little fool" (17).  That, my friend, is exactly what
Daisy believes.  Further, that is exactly what Daisy is.  Daisy
is a "beautiful little fool."  Daisy does
think that it's "the best thing a girl can be."  Daisy will continue to
remain so, ... Gatsby or no Gatsby.

So, although I'm
embarrassed to admit that I've never quite considered it before, the evidence above
proves that Daisy and Tom are tightly linked.  Further, this significant link
foreshadows that their relationship, however flawed, is forged and unbreakable.  No,
Daisy won't leave Tom for Gatsby. ... And now I have a new element of foreshadowing to
teach in my classes.

"My True Love Hath My Heart" by Sir Philip Sidney is a metaphor. Explain the poem and its significance.

"My True Love Hath My Heart" by Philip Sidney uses the
literary device of metonymy. Metonymy is when someone writes about something, but does
not use its name to describe it—instead he/she uses something
associated with it.

For example, when
we say we could eat the whole plate (of cake), we are not referring to eating a plate,
but the food on it.

For this poem, the
metaphor I find is that the heart represents love. The
metaphor is that the heart is said it is "given" like a tangible item, when it really
refers to sharing an emotion, something intangible.

Each
lover has shared his/her heart (love) with the other, and the other, in turn, has done
the same. "He loves my heart for once it was his own." So the two have shared their love
for one another. In doing so, the love has altered, become something new in combining
the two separate loves into one.

The exchange of love,
represented by the heart, is shared between these two, but it's hard to tell where one
person's heart stops and the other person's heart begins. They become like two hearts in
the same chest.

The best way for me to make sense of this
is to suggest that when one gives his/her heart to the other, they become inseparable:
not physically, but metaphysically. The essence of one joins with
the essence of the other and they cannot be distinguished from each other any
longer.

When Elizabethan's married they believed that at
that moment, they were inseparable forever. This is why in Hamlet,
by William Shakespeare, Hamlet's mother is committing incest by marrying her
brother-in-law: for within Gertrude there still resides a part of her dead husband (Old
Hamlet)...therefore, Old Hamlet is sleeping with his brother (Claudius) when
Gertrude sleeps with
Claudius.

As Sidney lived at the same time as
Shakespeare—during the Elizabethan period—I believe he would also have been influenced
by Elizabethan perceptions: it makes sense to find this kind of "imagery" is used in
Sidney's poem.

The idea of oneness guarantees that each
person will do all he/she can to make the other happy, for each has a part of the
other's heart, the other's love. And hurting the other would, in fact, hurt
him-/herself.

Like a house of mirrors—it is a little hard
to follow. Hope this helps.

How does a frog carry out its essential life functions?

Adult frogs have a closed circulatory system with a three
chambered heart. Circulation is accomplished by the ventricle pumping blood to the body
to deliver oxygen and nutrients, and pick up wastes, and back to the lungs and skin to
obtain oxygen and remove carbon dioxide. Tadpoles have a loop circulatory system and use
gills to breathe dissolved oxygen from the water. It is absorbed and circulated by the
bloodstream. Their skin is also used for respiration. Reproduction is external both for
fertilization and development, which occurs in the pond. The frog has a similar
digestive system to humans, with the digestive process beginning in the mouth, then,
food travels to the esophagus, stomach, small and large intestine. They have an opening
called the cloaca to remove wastes and to release sperm or eggs depending on their sex.
It also is for the removal of urea. Frogs have two kidneys to filter urea and ammonia
from the blood and to excrete it. They have a well-developed nervous system with a
brain, spinal nerve cord and nerves throughout the body. Their sensory organs include
eyes, tympanic membrane for hearing, nostrils, etc.  Their skeletal muscular system is
adapted for life on land as well as in water. Their very muscular hind legs are adapted
for jumping as well as for swimming. The frog has hormones that regulate metamorphosis
from juvenile tadpole stage to the adult stage. Basically, frogs are very complex
organisms.

In Anne Bradstreet's “The Prologue” and “The Author to Her Book," explain how she furthers the concept of women's abilities and...

What a coup for women—the first American poet to be
published was a woman.  Anne Bradstreet served as a woman to be admired.  Despite living
in man’s world and the severity of the Puritan religion, Bradstreet used her cleverness
to function outside of the accepted place of women in seventeenth century
America.

“The Prologue” expresses the struggles faced by
the women in Puritanical society.  Women were meant to stay in the home, raise the
children, and serve her husband.  Considered to have little ability in anything other
than the familial life, women were treated as incapable and unequal to the task of
writing. 

Bradstreet stands against this philosophy and
avows that women can do what men believe is solely their bailiwick---write poetry. To
Bradstreet, her responsibility was to prove that women were not the coy, fickle, foolish
mediocrities portrayed by men.  She was unafraid to criticize the Puritans with a
sardonic wit and the use of classical writing
style.

Clearly, Bradstreet disagrees with the stereotypical
version of the woman’s place:

readability="10">

I am obnoxious to each carping
tongue

Who says my hand a needle better fits, 
A
poet's pen all scorn I should thus wrong, 
For such  despite they cast on
female wits.

The clever poem
“The Author to Her Book”  treats the poem as though it were her errant child.  She
compares the author to a parent who has worried over and loved her poetry.  When a child
goes out into the world, the parent can hope that he has prepared him for what he will
face.  The same is true of the poem.  Will it be understood, accepted, and
respected?

Part of style in the poem is to assume the role
of a less than able writer.  The poem has not always responded in an effective way.  She
calls her work “my rambling brat” revealing the negative side of writing and parenting.
However, like any parent or writer, the child or work still belongs to her and she loves
it despite its flaws.   She does edit the work and amends it to more reflect her own
personality.

Bradstreet uses personification to elicit a
positive response from the reader.  She worries over her book just as a parent shows
anxiety when the child is to be judged.

readability="12">

Thy visage was so irksome in my sight; 

Yet being mine own, at length affection would 
Thy blemishes
amend, if so I could: 
I wash'd thy face, but more defects I saw, 

And rubbing off a spot, still made a
flaw. 

The parent finds fault
with the child just as the author is never completely satisfied with his writing.
Bradstreet’s witty portrayal of the complexities of writing and worrying about its
acceptance cleverly transcends gender and the Puritan harshness toward
women.

What is the probability that the total of two dice will be greater than 7, given that the first die is a 5?

We are given that the first die shows up 5 and the total of the
dice is greater than 7.

Now we need to use conditional probability
here. We have to determine the probability of the total being greater than 7 given that the first
die is 5.

Let A denote the event that the first die is
5.

Let B denote the set that the sum of the dice is greater than 7
and the first die has a 5. Now B includes the following values of the dice, (5 , 3), (5 , 4), (5,
5) and ( 5, 6)

The possibility of getting a 5 when the first die is
thrown is (1/6). So P(A) = 1/6.

The possibility of getting the 4
options that constitute the set B is 4/ 36 = 1/9

Therefore P( B|A) =
P( A and B) / P(A) = (1/9) / (1/6)

= 6/
9

= 2/3

Therefore the
required probability is 2/3.

Can we question the power of Othello's love for Desdemona?

Of course you can question it.  This is a work of fiction,
and, on top of that, it's a play.  Any play worth its salt can bear different
interpretations of its characters.  There have been as many ideas about the true nature
of Othello's character and love as there have been actors who have played the part.  So,
certainly, the power of Othello's love for Desdemona can be questioned, and should be,
by the actor who is playing the role.

Theoretically
speaking, just in looking at the text, I would also say that power of his love must be
questioned.  The key is defining what "love" is.  Is love a madness that allows one to
be vulnerable to angry and vengeful thoughts of jealousy?  Jealously itself comes from a
vulnerability in the one who experiences this emotion, it has nothing to do with the
other parties involved.

And love -- love is meant to be a
freely given feeling of goodness and generosity, not a feeling dependent upon the person
who is loved behaving in any certain way to "earn" this feeling.  Certainly, this is an
ideal definition of love, but, if one can accept it, than it would have to be said that,
in fact, Othello does not actually "love" Desdemona at all, but desires her in more base
ways only.

So, if one is defining love in its most pure and
ideal forms, than it is certainly possible to question the power of Othello's love for
Desdemona.  For more ideas about the love between Othello and Desdemona, please follow
the links below.

f(x) = (x-3)/(x^2+2) find f ' (1) .

We'll use the limit method to calculate the value of
derivative of a function in a given point.

lim [f(x) -
f(1)]/(x-1) = lim [(x-3)/(x^2+2) + 2/3]/(x-1)

lim
[(x-3)/(x^2+2) + 2/3]/(x-1) = lim (3x-9+2x^2+4)/(x-1)

lim
(3x-9+2x^2+4)/(x-1) = lim (3x-5+2x^2)/(x-1)

We'll
substitute x by 1:

lim (3x-5+2x^2)/(x-1) = (3-5+2)/(1-1) =
0/0

Since we've obtained an indeterminacy, we'll apply
L'Hospital rule:

lim (3x-5+2x^2)/(x-1) = lim
(3x-5+2x^2)'/(x-1)'

 lim (3x-5+2x^2)'/(x-1)' = lim
(3+4x)/1

We'll substitute x by
1:

lim (3+4x)/1 =
(3+4)/1

f'(1) = lim (3x-5+2x^2)/(x-1) =
7

f'(1) =
7

What are volatile liquids?

Volatile liquids are liquids with low boiling points and high
vapor pressure- in other words, they tend to evaporate more easily at room temperature.
Substances have different pressures in which they can maintain equilibrium between their liquid
and gas phases. The higher a liquid’s vapor pressure, the more volatile it
is.

Because of their low boiling points, volatile liquids convert to
the gas phase at a lower temperature and the gas molecules can diffuse faster than the molecules
of a non-volatile liquid. This is the reason why perfumes use volatile liquids so that their odor
can disperse more quickly into the air.

Some other examples of
volatile liquids include acetone, ammonia, dichloromethane, and
diethylether.

In "Anthem for Doomed Youth," "The bugles" are likely to be playing: attack, retreat, taps, reveille, none of these?

The bugles in Wilfred Owen's "Anthem for Doomed Youth" come
"from sad shires." Shire is the British equivalent of county. They are unlikely, then, to be
playing anything directly related to battle.

The entire poem, from
choirs to palls to funeral bells, is an extended metaphor of a funeral. The victims of WWI
referred to in the poem will not be receiving traditional funerals at home. For instance, the
sound of exploding artillery shells takes the place of church choirs traditionally heard at
funerals.

Women will stare out of their windows looking for their
returning men coming home, but the men never will. At the close of the day, the women will
reluctantly draw their window blinds.

The bugles then, presumably,
will play taps, if the choices you ask about are the only choices. They will play something
associated with death.

What kind of place is the Rainbow Inn?

In a small town like Raveloe, there is always a place
(aside from church) where people meet for fun and to share the gossip of
town.

The Rainbow Inn was a form of pub (public house)
where celebrations were held, and where people went to drink, gossip, and just meet
up.

In Silas's mind, the Rainbow was an expensive resort
where people went to spend money unnecessarily. However, we know that it may be just a
regular meeting convention center where people divided themselves according to class.
Hence, the poor and the not-poor would not be likely to share
together.

We know that whenever a big celebration takes
place, such as Ms. Osgood's birthday, it would be celebrated in the Rainbow Inn, which
shows that some people in Raveloe used the place as a symbol of status, among other
things, for others to see how much they can offer society.

If f(x)= 3x+6, prove that f( f(x)) is an increasing function.

To establish that a function is increasing, we'll have to
do the first derivative test. To do the first derivative test, we'll have to determine
the result of the composition of f(x) with f(x).

f(x)*f(x)
= f(f(x))

We'll substitute in the expression of f(x), the
variable x by the expression of f(x).

f(f(x)) = 3f(x) +
6

f(f(x)) = 3(3x+6) + 6

We'll
remove the brackets:

f(f(x)) = 9x + 18 +
6

We'll combine like
terms:

f(f(x)) = 9x + 24

Since
we know the expression of f(f(x)), we can do the first derivative
test.

f'(f(x)) = (9x +
24)'

f'(f(x)) = 9

If the first
derivative is positive, then the original function is
increasing.

Since the result of the first
derivative test is positive, then f(f(x)) is an increasing
function.

Compare and contrast the characters of Mr. and Mrs. Baines in "The Basement Room."

On the surface, Mr. and Mrs. Baines seem to be totally
opposite. Seen through Philip's young eyes, Mr. Baines is a kind and caring man who
tells him stories and takes him for walks. Mrs. Baines, however, is equated with the
monsters that make up Philip's nightmares. She is domineering and cold. Mr. Baines seems
to fear his wife as much as Philip does.

Below the surface,
however, both Mr. and Mrs. Baines are alike in in their betrayal of Philip. He is an
innocent boy who isn't old enough to understand the complexities of adult relationships.
Mr. Baines asks Philip to keep secrets, the seriousness of which the young boy cannot
comprehend. Philip is certainly no match for the trickery of Mrs. Baines in her effort
to catch her husband with Emmy. They both end up stealing Philip's innocence and youth,
so that he's unable to ever love and trust again.

What do these comparisions suggest in The Duchess and the Jeweller: pearls to tears, rubies to heart's blood, diamonds to gunpowder.

By making these comparisons, the author is bringing out the
theme of class conflict. She is showing A) how hard Oliver has had to work to get himself up from
poverty and B) how much he resents those who are his social
"betters."

When Oliver refers to the pearls as tears and the rubies
as blood, he is alluding to how hard he had to work to become rich. He is saying that he put his
blood and tears into getting those things. Woolf is commenting here on how excessive Oliver's
desire for wealth is,

When Oliver refers to the diamonds as
gunpowder, he is expressing his hatred. We can see from his relationship with the duchess that he
harbors animosity and jealousy towards the aristocracy. He sees his diamonds as a way to destroy
them, as a weapon.

By making these comparisons, then, Woolf is
showing the strength of class-based anger in Oliver Bacon.

Evaluate definite integral of f(x)=minim{x^2,3x-2} for x=0 to x=2.

Before evaluating the definite integral, we'll apply the
rule of minimum to the function f(x).

minim m(x) =
min{u(x),v(x)} is:

- u(x), for
u(x)<v(x)

- v(x), for
u(x)>v(x)

We'll apply the rule of min to the
function f(x):

- x^2, for x^2<3x-2 <=>
x^2 - 3x + 2 < 0

- 3x-2, for x^2>3x-2
<=> x^2 - 3x + 2 > 0

We'll calculate
the roots of x^2 - 3x + 2 to verify where the expression is positive and where it's
negative.

 It is obvious that the roots of the expression 
x^2 - 3x + 2 are 1 and 2.

x1 + x2 = 3 =
S

x1*x2 = 2 = P

1 + 2 =
3

1 * 2 = 2

The xpression is
negative over the interval [1,2] and it is positive over the intervals (-inf.,1) U
(2,+inf.).

Now, we'll calculate the definite
integral.

Int f(x) dx = Int 1 + Int
2

Int 1 = Int f(x)x from x = 0 to x =
1

Int 2 = Int f(x) dx from x = 1 to x =
2

Int 1 = Int (3x-2)dx = Int 3xdx - 2Int
dx

Int 1 = 3x^2/2 - 2x

Int 1 =
F(1) - F(0)

F(1) - F(0) = 3/2 - 2 =
-1/2

Int 1 =
-1/2

Int 2 = F(2) -
F(1)

Int 2 = Int x^2dx

Int 2 =
x^3/3

F(2) - F(1) = 2^3/3 -
1^3/3

F(2) - F(1) = 8/3 - 1/3 =
7/3

Int 2 =
7/3

Int f(x) dx = Int 1 + Int
2

Int f(x) dx = Int 1 + Int
2

Int f(x) dx = -1/2 + 7/3

Int
f(x) dx = (-3 + 14)/6

Int f(x) dx =
11/6

In the poem"Falling Song," how do the images connect to the theme of the poem? The poem is below.There was the sweet but reedyhonking of geese...

In the poem "Falling Song" by Daniel David Morris, the
speaker is yearning to feel connected to nature but is trapped in the confines of the
city.  This is the primary theme of the piece.  The primary image which represents
nature is, of course, the geese.  They are majestic and free, flying high above the
grey, the rain, and the "rush hour streets."  The geese fly over, "coming through like
bells that celebrate."  He compares their formation to waves and wind--ever shifting,
ever changing.  He is enraptured by their temporary but majestic presence and their
freedom.  As they fly out of sight, he said he

readability="5">

felt
like I'd missed a parade
I
would have wanted to
follow.

He wants to fly and
get caught up and be free with the geese; but the "sooty window" and the "mist" are
"dampening their call" and he remains stuck in the city.

Simplify x/ (1+1/x) + (1/x)/ (x + 1).

We'll take the denominator of the first ratio and we'll multiply
1 by x:

1+1/x = (x+1)/x

We'll multiply
the numerator x of the first ratio by the inversed
denominator:

x*x/(x+1) =
x^2/(x+1) (1)

We'll re-write the second
ratio:

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

We'll add (1) + (2)

 x^2/(x+1) +
1/x(x+1)

We'll multiply by x the first
ratio:

(x^3 + 1)/x(x+1)

We'll re-write
the sum of cubes:

x^3 + 1 = (x+1)(x^2 - x +
1)

(x^3 + 1)/x(x+1) = (x+1)(x^2 - x +
1)/x(x+1)

We'll simplify:

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

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

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

In Cry, the Beloved Country, is the author impartial in his treatment of the two races?

This is a fascinating question. Paton, as a white South African
himself, wrote this novel to express his fear and concern about what was happening in his country
and how he saw the racial divide widening day by day. Therefore, I believe that he does his best
to be impartial. There are a number of chapters away from the main action of the novel where
Paton allows us to hear a wide range of different opinions about what is happening in South
Africa. I believe he tries to do this as justly and accurately as possible without bias. Consider
Chapter 12, where Paton is keen to present the negative effects of what is happening in South
Africa on both whites and blacks:

readability="14">

Have no doubt it is fear in the land. For what can men do
when so many have grown lawless? Who can enjoy the lovely land, who can enjoy the seventy years,
and the sun that pours down on the earth, when there is fear in the heart? Who can walk quietly
in the shadow of the jacarandas, when their beauty is grown to danger? Who can lie peacefully
abed, while the darkness holds some secret? What lovers can lie sweetly under the stars, when
menace grows with the measure of their
seclusion?

The situation in South
Africa is thus shown to impact all of its residence, no matter what skin colour. Note too that
the novel presents both whites and blacks who are working to try and do something about the
situation - we are presented with the colony in Ezenzeleni where whites work with blind blacks,
and also the white worker of the reform school where Absalom was. Although Paton is keen to evoke
the full danger of the situation in his country, he does not seem to place the blame in any
quarter, rather making an appeal for compassion, understanding and love - as is shown by the
relationship at the end of Jarvis and Kumalo.

In "The Scarlet Ibis", why do you think Doodle makes up lies about people who have wings?

Careful examination of this short story will help you find
the answer you are looking for. We are told that Doodle and his brother, the narrator of
this moving story, take up lying to help pass the time when they go out to walk. Because
Doodle has recently learnt to walk for himself, we can assume that the lying was a
distraction that helped him reached his destination without stopping and allowed him to
gradually increase the distance he could walk when he went out with his brother. In the
narrator's own words, Doodle was a "terrible liar", and his lies reflect his inability
to distort the truth. We are told that he had a favourite
lie:

His
favourite lie was about a boy named Peter who had  apet peacock with a ten-foot tail.
Peter wore a golden robe that glittered so brightly that when he walked through the
sunflowers they turned away from the sun to face him. When Peter was ready to go to
sleep, the peacock spread his magnificent tail, enfolding the boy gently like a closing
go-to-sleep flower, burying him in the gloriously iridescent, rustling vortex. Yes, I
must admit it. Doodle could beat me
lying.

Note how Doodle's
inability to lie helps reflect his position as an innocent in the world, an impression
that is heightened by his child-like trust in his brother and his general naivety, which
is perhaps confirmed by his death - he was a character who was not meant for this world
in so many ways, as is foreshadowed by the death of the Scarlet Ibis that Doodle is
described as at the end of the story.

How would the story change if Faulkner told it himself in his own voice, rather than through a narrator who is one of the townspeople?

Since the story is fiction, any narrator telling the story
would not be exactly Faulkner.  So, I think you are really asking what effect it has to
have a first person plural narrator for the story, as opposed to a third person
narrator.

I think that a third person narrator would be
more likely to be omniscient, meaning that a third person narrator would know everything
there was to know about Miss Emily and the events of her life.  A narrator who is one of
the townspeople can give the reader some information about Miss Emily and what happens
in her life, but leaves a great deal to the reader's imagination and speculation.  This
makes the story richer, I believe.  Also, having one of the townspeople tell the story
makes the reader feel more as though he or she is part of the story, as though the
reader is personally observing Miss Emily and her life.  Finally, having one of the
townspeople tell the story gives it a kind of "folksy" feeling that makes it feel more
authentic.

Why SHOULD the Speaker of the House be second in line to succeed to the office of the President?

In my opinion, the main reason for this is that the House of
Representatives is the "people's house."  It is the part of government that is closest to the
people.  This was especially true back in the days when Senators were not elected by the
people.

Clearly, the person who should be first in line is the vice
president.  But after that person, who?  It makes sense to me that it should be the leader of the
House.  The members of the House are elected more often than Senators.  They are supposed to be
the members of government most in tune with the opinions of the people.  By having the leader of
this house be third in line, we send the message that the will of the people is what is most
important in our system of government.

Solve the system 3^x+5^y=4 9^x+25^y=10

We'll note the terms from the first equation
as:

3^x = u and 5^y = v.

We
notice that if we square the terms from the first equation, we'll obtain the terms from
the second equation:

(3^2)^x = u^2 and (5^2)^y =
v^2

We'll re-write the system using the new variables u and
v:

u + v = 4 (1)

u^2 + v^2 =
10

But u^2 + v^2 = (u+v)^2 -
2uv

u^2 + v^2 = 16 - 2uv

16 -
2uv = 10

2uv = 16 - 10

uv = 3
(2)

We'll write u with respect to v, from
(1):

u = 4 - v (3)

We'll
substitute (3) in (2):

(4 - v)*v =
3

We'll remove the
brackets:

4v - v^2 - 3 =
0

We'll multiply by -1 and we'll re-arrange the
terms:

v^2 - 4v + 3 = 0

We'll
apply the quadratic formula:

v1 = [4+sqrt(16 -
12)]/2

v1 = (4+2)/2

v1 =
3

v2 = 1

5^y =
3

We'll take logarithms both
sides:

ln 5^y = ln 3

y*ln 5 =
ln 3

y = ln 3/ln 5

5^y =
1

5^y = 5^0

y =
0

Now, we'll calculate u and then,
x:

u1 = 4 - v1

u1 = 4 -
3

u1 = 1

u2 = 4 -
v2

u2 = 4 - 1

u2 =
3

We'll calculate x:

3^x =
1

x = 0

3^x =
3

x = 1

The
solutions of the system are: {1 ; 0} and {0 ; ln 3 /ln
5}.

A(n) 14 g bullet is fired into a(n) 121 g block of wood at rest on a horizontal surface andstays inside. After impact, the block slides 8.3 m...

The kinetic energy og the bullet  dragged the the block
along with the bullet  for a distance of 8.3meter.

The work
done here could be estimated by the frictional force F for a distance of 8.3 meter, 
which is F*s .

The frictional force = weight force of the
bolck with bullet*coefficient of friction* distance.

=
(14gram+12gram)(g m/s^2)(0.7) (8.3 m). Convert  everything in MKS
system.

= (0.014kg
+0.121kg)(9.8m/s^2)(0.7)(8.3m)

= (0.135)(9.8)(0.7)(8.3)
J

= 7.68663 J

We presume the
kinetic energy of the bullet has been converted into  7.68663 j of
energy.

So the KE of bullet is (1/2)mv^2, where m = bullets
mass = 14g = 0.014kg. And v is the velocity of the bullet before hit, to be
determined.

(1/2)(0.014)v^2 =
7.68663.

v^2 = 2*7.68663/0.014 =
1098.09)

v = sqrt(1098.09) = 33.14m/sec
approximately.

So the velocity of the bullet  slightly more
tham 33.14 m/s as a part of the energy has to be  converted into heat , noise  and
penetrating into the block etc.

=
(

=

What is the poem "Ex-Basketball Player" by John Updike trying to say?

Almost every school has a sports hero, someone who is
 natural at the game. Like the glittering stars whose brilliance fades overnight, some
of these bright heroes seem to dim after graduation. Flick is such a person. Note how
the first three lines act as a symbol of his life:

readability="12">

Pearl Avenue runs past the high-school
lot,

Bends with the trolley tracks, and stops, cut
off

Before it has a chance to go two
blocks.

In the same way,
Flick's life has been "cut off" before it has had a chance to go further than High
School. Although he was "the best" and "The ball loved Flick," his life now is wasted
working in a gas station, because "He never learned a trade." Although his hands "are
fine and nervous" this clearly makes no difference whatsoever to his undemanding and
demeaning job now. Updike is thus making a sad point about so many students who seem to
have such promise but whose future life harshly belies the dreams they may have once
had.

What is it Michael Berube is writing for and what is he not for in his essay "Paying for Freedom"?

I don't find an essay by Professor Bérubé titled "Paying
for Freedom." I do find an essay titled "What Does 'Academic Freedom' Mean?" (2006) in
which he speaks of the idea that academic freedom is being threatened by those who think
they can control that freedom by paying for it.

If this is
the essay you speak of, I can discuss two points that are important--and highly
contentious--that Bérubé advocates in this essay about academic freedom. Academic
freedom, a concept sprung from the Enlightenment period, is the freedom of scholars to
research and teach without control or restriction from governing bodies or religious
overseers, such freedom as Galileo did not have. This freedom does much to assure that
results of research and that teaching the results will be free from preconceived and
biased approaches and results. This is what Bérubé is for in his
writing: he champions traditional academic freedom.

Bérubé
points out that in contemporary America local legislating bodies are attempting to pass
bills that require government oversight of academic hiring and teaching. This, according
to the Enlightenment tradition, entirely violates academic freedom. The justification
put forth by these advocates of intervention from government into the freedom of
academia is that if public taxes pay for public education, then public regulation is
right and justifiable. Yet, according to Bérubé, with current costs, local taxes pay
only a small portion of academic budgets. This is what Bérubé essay is not
for: he opposes any such intervention. Bérubé explains the idea this
way:

The
argument goes like this: we pay the bills for these proselytizing faculty liberals, so
we should have some say over what they teach and how they teach it. Public universities
should be accountable to the public. [...] people who say, in effect, “I pay 10 percent
of your salary, and that gives me the right to screen 100 percent of your
thoughts.”

Explain Jefferson's quote, "I believe that states can best govern our home concerns, and the general government our foreign ones."

Thomas Jefferson was an antifederalist.  This means that
he was generally in favor of the states having more power than the federal government. 
That is what he is saying in this quote.

Jefferson is
saying that the state governments should have the power over everything that is domestic
policy -- things that do not involve foreign governments.  For example, Jefferson would
have thought that states should control taxes and things like that.  He thought that
this would keep the national government from imposing bad policies on the states the way
that England had imposed bad policies on the colonies.

But
he is also saying that the national (what he calls the "general") government needs to
take care of foreign policy.  The states should not be able to form separate alliances
with other countries, for example.

So he is saying that the
state governments should handle domestic policy and the national government should
handle foreign policy.

What are a and b if (a+2)/3+(b-1)/i-(a-1)*i^-1-(b+1)*2^-1 ?

It is not possible to find the values of a and b from the
expression you have provided. I have solved what I think would have been the equation: (a+2)/3 +
(b-1)/i = (a-1)*i^-1 - (b+1)*2^-1

(a+2)/3+(b-1)/i = (a-1)*i^-1 -
(b+1)*2^-1

=> (a+2)/3 + (b-1)/i = (a-1)/i -
(b+1)/2

=> [i(a+2) + 3(b - 1)]/3i = [2(a - 1) - i(b +
1)]/2i

=> [2i(a+2) + 6(b - 1)] = [6(a - 1) - 3i(b +
1)]

=> [2ai + 4i + 6b - 6] = [6a - 6 - 3bi -
3i]

equate the real and complex
coefficients

=> 2a + 4 = -3b - 3 and 6b - 6 = 6a -
6

6b - 6 = 6a - 6

=> a =
b

substitute a for b in 2a + 4 = -3b -
3

=> 2b + 4 = -3b - 3

=>
5b = -7

=> b = -7/5

a = b =
-7/5

The required values of a and b are a = -7/5 and b
= -7/5

How likable is Gretel's character in The Boy in the Striped Pajamas?

I think that Gretel can be likable. This is because she is
only a child, and she is unaware of what is happening around her. She is kept away from
the Nazi world by her parents for her own good. She has been forced to move from her
home in Berlin, just like Bruno. Also, she has no friends like Bruno to show her loyalty
to. She gets very lonely at times, so the only people there are to influence her are the
people she communicates with everyday, Kotler and Herr Liszt. She does not have much of
a choice. I understand that she is easily influenced but many children look up to their
fathers and do not want to disobey them. Gretel is justified. Bruno is just a younger
brother. All brothers have something bad to say about their sisters, who likes their
siblings? We have not heard the story from Gretel's point of view yet. She has her own
feelings too. Just because she has been influenced by her Father does not justify
anything. She puts up the posters of the country because she has patriotism in herself.
She wants to show that she is mature and old enough to understand what is
happening. 

What is the purpose of the tone shift in "War is Kind" by Stephen Crane?

The tone shifts in Stephen Crane's "War is Kind" come as a
result of the change in diction.  For instance, in stanza two rather than use the
conversational tone of the other stanzas, Crane chooses to employ more elevated and
Romantic language in the second stanza.  This embellished and
exaggerated style--

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Great is the battle god, great and his
kingdom

A field where a thousand corpses
lie.

is employed by Crane to
show how absurd it is to glorify wars and attach Romantic ideas to them.  For, the
contrast between the field with a thousand corpses lying promiscuously about in crumbled
forms, is much less heroic than any deeds of glory.  In a switch from the second stanza
and its apparent cynicism and mockery, Crane exhibits an ironic sympathy to the victims
and their mothers:

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Mother whose heart hung humble as a
button

On the bright splendid shroud of your
son,

Do not weep.

War is
kind.

There is some comfort
in knowing that the victims of war have found respite from their
suffering. 

Identify and describe each person at the Rainbow Inn that evening.Silas Marner by George Eliot

After Silas Marner is robbed he rushes to the Rainbow Inn,
believing he will find there the dignitaries of Raveloe.  However, the group at the inn
is occupied by men who are less than dignitaries:

1.  Bob
Lundy, the butcher, is a jovial red-haired man who says that he is "for peace and
quiet."  He does not respond to questions in a rash way; instead, he withholds  details
and does not contradict others.  Later, however, he adds himself to the list of those
who want Tookey out of the choir.

2. Dowlas, the farrier,
is "the negative spirit in the company and proud of his position."  At first, he is
bitterly sarcastic to the butcher and "opposed to compromise" and bets Mr. Macey that
'Cliff's Holiday' is not haunted as Macey
contends.

3. Snell, the landlord, tries to ameliorate when
others argue.  he is the diplomat, telling the bellicose farrier and the jovial butcher
are both correct in their statements about the Durham cow that has been butchered.  And,
he is diplomatic regarding the haunting of "Cliff's
Holiday."

4. Tookey, the deputy clerk, works under Mr.
Macey, the tailor and parish clerk.  Unpopular as is a deputy, Mr. Tookey's singing also
falls under sharp criticism.  He accuses the others of a "consperacy to turn me out o'
the choir."

5.  the Wheelwright is a large, jocose-looking
man who is the leader of the choir.

6-7.  "Bassoon" and
"Keybugle" are two choir members presetn in the inn.

8. Mr.
Ben Winthrop also criticizes Tookey's singing.  He tells Tookey, "It's your inside as
isn't right made for music:  it's no better nor a hollow stalk."  He offers to pay
Tookey to leavethe choir.

9. Mr. Winthrop, who offers to
pay Tookey to resign his position,criticizes sharply Tookey's
singing. 

10.  Mr. Macey, the tailor and parish clerk, is a
white-haired man who suffers from rheumatism.  He has a "sarcastic smile" and is often
in referred to as "complacent."  Macey says that he will not become involved in the
butcher and the farrier's debate, then he says that he does know Mr. Lammeter, the man
who has sold Mr. Bob Lundy the "Durham cow."  Knowing about the deed on Lammeter's land,
Mr. Macey refers to Lammeter's property by the name it is called, "Charity Land."  Then,
he launches into an explanation of why the land is called this odd
name.

The group that smokes their pipes banter with one
another and retell old tales; their "unflinching frankness" is the most "piquant form of
joke" for them.

How does the morality of the characters in To Kill a Mockingbird change throughout the story?Harper Lee's To Kill a Mockingbird

Throughout Harper Lee's To Kill a
Mockingbird, there is an awakening consciousness of the rules of right conduct, or
morality, in the Finch children, Scout and Jem. Provided the virtuous example of Atticus, their
father, Calpurnia, the maid, and Miss Maudie, their neighbor, the children learn to treat all
people fairly; also, they learn that there is often more to people that what first appears as
with Mrs. Dubose and Mr. Raymond Dolphus, apprehending that "it is a sin to kill a mockingbird."
That is, they become aware that the gratuitous cruelty to innocents such as Boo Radley and Tom
Robinson is morally and ethically wrong.

Likewise, in three of the
adult characters, Aunt Alexandra, Mr. Cunningham and Mr. B. B. Underwood there is a restoration
of their moral consciousness. For instance, initially, Aunt Alexandra does not want her brother
involved in the trial of Tom Robinson; however, she later comes to understand the moral
significance of Atticus's actions: he must maintain his integrity and convictions. And, after
Scout touches his sense of right and wrong, Mr. Cunningham cannot in good conscience go along
with the rest of the jury on their guilty vote. Further, Mr. B. B. Underwood, editor of the
Maycomb daily newspaper, who admittedly dislikes blacks, feels morally compelled to write an
invective against the egregious injustice of Tom's conviction.

As
Scout stands on the Radley porch in the final chapter, she
remarks,

I had never
seen our neighborhood from this
angle.

The episodes of Scout and Jem's
childhood help them to develop their moral consciousness, and the trial of the mockingbird, Tom
Robinson, acts as a catylst to awaken the morality of many of the adults in Maycomb as they, like
Scout, see their neighborhoods and town from a different angle. While the children and the adults
do not change their sense of morality, they do, indeed, develope and revive this awareness of
ethical conduct.

In "Les Miserables," why does Fantine leave her child with the Thenardiers and believe that is the best decision for her daughter?

At the time of Fantine's decision, remember, she is a
single mother without a husband in a time when this was socially inappropriate.  She was
also poor and without means of a direct income.  In her mind, though her child was her
priority, she did not believe she could provide for Cosette at the
same time as taking care of her.  Who would hire a single woman bound by the
responsibility of a very young child?

She first saw Mm.
Thenardier with her two daughters playing nearby whom Fantine described as "pretty." 
They were in a rare moment of utter happiness at the make-shift swing their mother had
discovered for them, and from a distance, it was if Fantine was beholding angels. 
Pretty likely meant that they looked well taken care of.  In her desperation, Fantine
did not have time to do any sort of background check on this woman and her husband.  All
she knew was that they were married, had two daughters (about Cosette's age), and they
ran a small inn.

They of course seem very kind-hearted and
deceive Fantine into further believing in the goodness she had already bestowed on them
without reason.  Heartbroken and hopeless, she is in a hurry to start a life which will
be able to sustain the financial support of herself and her child, and in ignorance and
lack of experience, the Thenardiers seem like a God send.  She certainly believes she
will find stability rather quickly and assumes she will be coming back for Cosette very
soon.

In fiction, are the reactions of readers to the people and events of the story are more important than the people and events themselves?

I think a case could be made for both sides of the
question.  Without a story (the people and events about which one reads) there can be no
reaction by readers.  To that extent, then, the answer is false.  But, because an author
wants to create characters and events which will be compelling and cause readers to
react, the answer is true.  Probably in the middle somewhere is the
truth.

Outside the culture of "pop" fiction, which is all
about readership and book (or e-book) sales, writers generally write because they have
something to say, whether anyone ever reads their work or not.  Wanting their readers to
hear them and then react or respond is second to expressing themselves in writing. 
Interviews with and reflections by authors in all centuries seem clear about that
fact. Just as the sun shines whether we appreciate it or not, so writers write whether
anyone will read and appreciate their work or not. The same case could be made for
musicians and painters.  Even without an audience, most of them would still
create.

On a practical note, though, authors also want to
share their themes and perspectives and styles with others; it's just not always their
primary motivation.

How can you explain the meter in Sir Philip Sidney's poem "My True Love Hath My Heart"?

Meter is defined in scansion
as the rhythm and the number of repeating patterns. A question about meter excludes
structure and rhyme scheme. The meter of Sydney's "My
True-Love Hath My Heart" is a classic iambic ( ^ / )
pentameter (five feet of iambs) with
elision and proparalepsis
adding variation. Line one shows the meter clearly: "My^ true' / -love^ hath' / my^
heart', / and^ I' / have^ his'." Sydney wrote this in a very rhythmic meter; one can
almost sing along while reading it if a tune comes to mind. Line two has the first
instance of elision. Elision is defined as the omission of
a vowel, a consonant, or a syllable in pronunciation of one or more words. The elision
in line two occurs in the word "given." Normally, it would
be pronounced "gi' -ven^". However when the vowel
e in the second syllable is elided the
pronunciation changes to "giv'n." It is now pronounced as a single syllable instead of
two and fits the meter as the stressed syllable of the final iamb. "By^ just' / ex^
-change' / one^ for' / the^ o' / -ther^ given'."Sydney chose not to illustrate the
elision as some authors do (giv'n), but it is elided
anyway.

Some might view an alternative scansion to the
meter as scanning line two with an incomplete sixth foot. While many poets choose to use
incomplete final feet, the convention, which is called
catalexis, only applies when an unstressed syllable is
dropped from trochaic or dactylic feet. It is also normally used in a patterned meter
(except perhaps in free verse) and not as a random line here or there. As a result of
these two poetic conventions, elision and catalexis, the alternative scansion turns out
not to be an alternative after all. Therefore the correct scansion is that "given" is
ellided to "giv'n" and forms the stressed syllable of the final pentameter
foot.

The second instance of
elision is in line four and is explained the same as line
two is: "driven" in the final pentameter foot is elided to "driv'n" to form the final
stressed syllable: "There ne' / -ver was' / a bar' / -gain bet' / -ter driven'," with
"driven" scanned as "driv'n." In line nine, Sidney uses a technique opposite to elision:
he emphasizes a syllable in an alternate pronunciation to the usual one by adding adding
a syllable to the end of a word in a technique called
proparalepsis. The word "received" may be pronounced as
either re^ceived' or re^ceiv^ed^, thus creating three syllables out of a usual two. As
an illustration, the same technique of proparalepsis is applied to
beloved, and we hear it around Valentine's Day. With proparalepsis,
Sidney stretches "receivèd' to three syllables, thus composing five full pentameter
feet:  "His^ heart' / his^ wound' / re^ -ceiv' / -èd' from' / my^
sight';".

In Sonny's Blues, how are the narrator and Sonny directly and indirectly characterized?In other words, show an example of how the narrator is...

In "Sonny's Blues," the narrator is directly characterized
as having little compassion for drug users. For instance, when Sonny's heroin-using
friend comes to the school yard (and the narrator has just read the news that he brother
has been arrested), the narrator can barely be civil. When the young man says that if he
were smart, he would have shot himself long ago, the narrator responds by saying that
he'd happily give him a gun to do it. This is direct characterization of the
narrator.

Indirect characterization is seen when he gives
the man five dollars when they part ways. As hardened as he is about drug use and how it
destroys lives, he is still compassionate enough to give the man money, even though its
intended use is obvious.

This hardened shell that the
narrator tries to develop shows cracks, also, when his wife wakes from nightmares about
their dead daughter. We know he is still a compassionate person when he says that
comforting his wife in her agony is like a mortal wound to
him.

Sonny is characterized directly as a young man who
cannot speak to his brother, perhaps who does not care for what his brother has to say
or what he thinks. At one point in their relationship, when the narrator goes to visit
Sonny, they are argue. The result of this fight is Sonny's declaration to his brother
that as far as the narrator should see it, Sonny is dead to him, and he shows the
narrator the door and slams it.

Indirectly characterized,
we see Sonny as a suffering soul who does not wish to be cut off from his brother. When
they speak finally of Sonny's drug use, the reader is able to understand, as does the
narrator, that speaking of his situation is painful to him. The narrator remains silent,
somehow knowing this. And Sonny reveals that he cannot explain exactly why he needs the
heroin. Directly characterized, we see a man with little hope in his
life.

Indirectly characterized, the reader observes Sonny
when he plays the blues at the club. It is in this moment, for reader and narrator, that
Sonny shows a rare glimpse of the beauty and promise that lives within. His music is
mediocre at best when he first starts to play. But when he is encouraged by another
member of the group, Sonny comes out of his suffering to a place of inspired artistry:
he plays from his soul, and we can see that there live two people within—the tormented
drug user and the soulful musician.

If not for the haunting
recollection of Sonny's old friend at the beginning of the story who paints a picture of
hopelessness for Sonny's recovery, the last scene might well convey a sense of promise
for Sonny. Perhaps it only speaks to the tragic nature of promise lost to the siren's
call of heroin addiction.

What are some examples of legislation/laws that the Green Party of the United States would pass if they were the new leaders of America?

The Green Party has an agenda that reaches well beyond
simply advocating for the environment.  Here are some examples of laws that they say (go
to their website to see more) they would like to
enact.

• They want the government to create a
  single-payer health care system for everyone.  In other words, they would have the
  government provide everyone's health care.


• They would
  like to decriminalize marijuana.


• They want to have the
  President and Vice President elected by popular
  vote.


• They would like to end the war in Afghanistan and
  the US troop presence in Iraq.

From this, you
can see that the Green Party is a very liberal party that takes positions that are well
to the left of what most Democrats are willing to call for.

Paraphrase lines 2795-2802 from Beowulf.

This paraphrase of Beowulf is offered
as my own original of lines 2795 through 2802. It is not taken from any other
translation.

To provide some background for the paraphrase,
Beowulf has just succeeded in slaying the dragon and has died. His band of warriors are
mounring his death. The bolded contains the original text, and the regular text contains
the paraphrase.

deeds of the deed. So
dutiful thanes

actions of the action. Then
the obediant warriors

in liege to their lord
   mourn him with lays

in honor to their
king    grieve him with songs  

praising
his peerless    prowess in battle
 

honoring his matchless skill in
battle

as it is fitting  
 when life leaves the
flesh. 

as it should be done  when one
dies

Heavey-hearted    his
hearth-companions 

Woeful his fireside
brothers

grieved for Beowulf,  
 great among kings, 

mourned for Beowulf,
the greatest of kings,

mild in
his mein,     most gentle of men,

gentle in
his death, most mild of
men,

kindest to kinfolk,   yet
keenest for fame. 

gracious to all people,
yet intense for renown.

Solve for x: 2sin^2x+5sinxcosx+5cos^2x=1

2sin^2x+5sinxcosx
+5cos^2x=1.

5sinxcosx =
1-5cos^2x-2sin^2x.

5sinxcosx =
1-5(1-sin^2x)-2sin^2x.

5sinxcosx =
1-5+5sin^2x-2sin^2x

5sinxcosx =
3sin^2-4.

We square both
sides:

25sin^2xcos^2x =
(3sin^2x-4)^2

25sin^2x (1-sin^2x) =  9
sin^4x-24sin^2x+16

25sin^2-25sin^4 = 9sin^4
-24sin^2x+16.

9s^4+25s^4 - 49s^2 +16 = 0, where s=
sinx.

34s^4 -49s^2+16 =
0.

34s^4 - 17s^2 - 32s^2+16 =
0

17s^2(2s^2-1)-16(2s^2-1) =
0

(2s^2-1((17s^2-16) = 0

s^2=
1/2, Or s^2 = 16/17

 s= +sqrt1/2  , sinx = sqrt(1/2), or x
= 45 or  135 deg

s= -sqrt(1/2)., sinx = -sqrt(1/2), or x=
225, or x= 360-45 = 315 deg

s = sqrt(16/17) , sinx =
sqr(16/17) , x =  75.96 deg, or  104.04 deg

s =
-sqrt(16/17), sinx = -sqr(16/17), x =  -75.96 deg = 360-75.96 = 284.94 deg or 180+75.96
= 255.96 deg

In lines 1-26 of Book I of John Milton's Paradise Lost, how is the speaker ambitious and how is the speaker humble?

The speaker of the first 26 lines of John Milton’s
Paradise Lost is clearly meant to be identified with Milton himself. The
speaker displays an intriguing combination of ambition and humility, as befits a mere human being
who is attempting to explain one of the most important events in all of human
history.

Milton’s ambitiousness is implied or overtly stated in a
number of ways in these lines. Some examples of his ambitiousness include the
following:

1. He chooses a theme already dealt with in the
   Bible and thus runs the risk of appearing to try to “improve upon”
   scripture.


2. He chooses a genre, mode, and style associated with the
   classical epics, some of the most highly respected poems ever
   written.


3. He directly addresses the same “Heav’nly Muse” (1.6) who
   had inspired Moses to write the first five books of the Bible. Milton knew that such an address
   might seem presumptuous to some of his readers.


4. He implicitly
   places compares himself to Moses since he seeks, like Moses, to act as an inspired prophet and
   historian.


5. He explicitly calls his song “adventurous” (1.13), or
   daring.


6. He explicitly proclaims that he intends “with no middle
   flight . . . to soar / Above th’Aonian mount” (1.14-15) – in other words, to surpass the
   achievements of the great writers of classical epics.


7. He announces
   that he intends to pursue “Things unattempted yet in prose or rhyme”
   (1.16).


8. He suggests that the Holy Spirit will recognize in him an
   “upright heart and pure” (1.17).


9. He openly states that he intends
   to explain the workings of “Eternal providence, / And justify [that is, show the justice of] the
   ways of God to men” (1.26).

In 26 lines, then, Milton
reveals enormous spiritual and poetic ambitions.  On the other hand, these 26 lines also imply or
openly reveal a good deal of humility as well.  Examples of such humility include the
following:

1. In speaking of the need for Christ to “Restore
   us” after the fall (1.5), Milton implies that he, like all human beings, is fallen and
   sinful.


2. By invoking the heavenly muse to sing (1.6), Milton
   implies his hope that he will merely be a mouthpiece inspired by
   God.


3. By allowing the muse to choose the exact mode of inspiration
   (1.10-13), Milton implies that he is an essentially passive receptacle of divine
   inspiration.


4. In the very lines in which Milton announces his
   intention to pursue “Things unattempted yet in prose or rhyme” (1.16), he pays sly tribute to an
   earlier Italian poet.


5. In line 1.19, Milton explicitly asks for
   divine instruction.


6. In lines 1.22-23, Milton concedes that his
   physical blindness makes him all the more dependent on divine
   inspiration.


7. In those same lines, Milton implies that he, like all
   human beings, is spiritually dark and needs spiritual support from God. In other words, he
   concedes his sinfulness and imperfection and makes clear that he can achieve nothing without
   God’s help.

For an excellent brief overview of the poem,
please see C. S. Lewis, A Preface to Paradise Lost (Oxford: Oxford
University Press, 1961).

I need help developing a thesis for "A Valediction Forbidding Mourning". Any examples would help.

This poem is about a man's telling his beloved not to mourn for
him, or have any outward display of emotion about this leaving because their love
is greater than that kind of display.  He is very reassuring to her about their
love and how it is greater than "ordinary lover's love."  A great thesis statement would express
that kind of statement and then state that John Donne uses many metaphors drawn
from lots of different areas of knowledge to prove how their love is better.  His
metaphors are quite unique!  In this poem he talks about the planets, about the chemical
properties of gold, about how he and his wife are like a compass (used to draw perfect circles),
about how ordinary lovers can't be apart because they rely on physical presense while he and wife
do not.  You could definetly talk about how he reassures his wife through the use
of all these metaphors.  One common mistake with this poem is that the speaker is
talking about his death -- it is more likely that Donne wrote the poem because he was leaving on
a business trip and had to leave his wife at home.  The last three stanzas specifically talk
about his returning to her.  The first two stanzas do reference death, but he is talking about
the calm death of man and he is telling his wife to act that same way when he leaves -- act calm,
not full of outward displays of emotion.

Solve an example of integral containing trigonometric functions raised to n power?

We'll choose the function to be
integrated:

f(x) = (sin
x)^n

We'll integrate the
function:

Int (sin x)^n
dx

We'll re-write the given function as a product of (sin
x)*(sin x)^n-1.

We'll write (sin x)^(n-1) = [1 - *(cos
x)^2]^(n-1)/2.

We'll re-write the
integral:

Int (sin x)^n dx = Int [1 - (cos
x)^2]^(n-1)/2*(cos x)'dx

We'll give values to n. We'll
choose n = 5.

Int (sin x)^5 dx = Int [1 - (cos
x)^2]^(5-1)/2*(cos x)'dx

We'll substitute cos x =
t

(cos x)'dx = -dt

We'll
re-write the integral of the function in t:

Int [1 - (cos
x)^2]^(5-1)/2*(cos x)'dx = -Int (1 - t^2)^2dt

We'll expand
the square:

-Int (1 - t^2)^2dt = -Int (1 - 2t^2 + t^4)
dt

We'll apply the property of additivity of
integrals:

Int (1 - t^2)^2dt = -Int dt + 2Int t^2dt - Int
t^4dt

Int dt - 2Int t^2dt + Int t^4dt = -t + 2t^3/3 -
t^5/5

Int (sin x)^5 dx = -cos x + 2(cos
x)^3/3 - (cos x)^5/5 + C

Compare and contrast Julius Caesar and Brutus in three paragraphs.

The most famous ancient Roman is, without a doubt, Gaius
Julius Caesar.  We remember Marcus Brutus only because he assassinated
Caesar.

Like all members of the Senate, Gaius Julius Caesar
and Marcus Junius Brutus were children of history – particularly their family history. 
While both came from old and revered Roman families, the ancestors of Brutus were the
more famous being descended as his was from Brutus the Liberator who freed Rome from her
last King and ushered in the Republic.  It is perhaps historic justice that another
Brutus would be present at the death of that same Republic.  Caesar, on the other hand,
traced his family back to the founding of Rome, claiming descent not only from Aeneas,
survivor of the Fall of Troy, but through him from the goddess Venus herself.  However,
despite these auspicious beginnings, Caesar’s Roman ancestors, while competent, had not
distinguished themselves in any memorable way.  Gaius would change all of
that.

Caesar was physically brave (he earned the coveted
Civic Crown in battle while serving as a Tribune) a gifted orator (Cicero called him the
best public speaker of his age) and a talented writer (he is still considered the
greatest Latin prose stylist) who was an outstanding general as well as a shrewd
politician.  In addition Caesar was generous with his money and famous for his
clemency.  However, he did not suffer fools gladly, and while he might tolerate the
ribald songs sung about him by his soldiers, he had no patience for his fellow senators
who refused to curb their greed and excess.  Like the Gracchi before him, Caesar was a
champion of the people and believed very much in the Roman concept of res
publica (the Public Thing).  Indeed, it was his support of the people,
particularly his land reforms, along with his outsized achievements, that motivated the
assassins to murder Caesar.

By contrast, Marcus Brutus,
while intelligent and well educated, had done little to distinguish himself.  Like many
of his class he used his appointments for personal financial gain.  Although it was
illegal to charge interest rates considered usurious, Brutus was able to obtain an
exemption and charge the citizens of Salamis interest rates of 48% per annum.  Of
course, fleecing the provincials was not only common but practically considered a reward
for serving as an elected magistrate.  More damning, Brutus proved to be a rank
opportunist who bent with the wind.  Although his father had been executed by Pompey
Magnus (and this after the elder Brutus surrendered to Pompey on the condition that his
life be spared) Marcus Brutus joined Pompey in opposing Caesar after he crossed the
Rubicon. He sided against Caesar despite the favors Caesar had shown to Brutus and his
family. Clearly he thought Pompey would win the civil war, but he had, once again,
miscalculated and after Pompey’s defeat at Pharsalus, was the recipient of Caesar’s
famous clemency.  It is interesting to note that when Sulla demanded that Caesar devoice
his wife, the daughter of Sulla’s enemy, Caesar refused on principle and barley escaped
with his life.

Brutus was an opportunist and typical Roman
aristocrat while Caesar was a man of principle and the outstanding Roman of his
age.

See:

Chronicle
Of The Roman Republic by Philip Matyszak
c2003

The Assassination Of Julius Caesar A
People’s History by Michael Parenti
c2003

Caesar Life Of A
Colossus by Adrian Goldsworthy c2006

If f(x) = 2x and g(x) = sin x, what is the range of f (g(x))?

f(x) = 2x and g(x) = sin x, To find the range of f
(g(x)).

f(g(x)) =
2*(x).

=> f(g(x)) =
2sinx.

Therefore the range of f(g(x)) is the range of
2sinx. Or the range of 2sinx is the set of all values 2sinx can
take.

Since sinx is a continous function bounded function
within -1 to +1. f(g(x)) = 2sinx can take all the values from -2 to
2.

So the range of f(g(x)) = 2sinx is the set of all values
in the closed interval (-2 , 2).

Tell whether the measures can be the side lengths of a triangle. If so, classify the triangle as acute, obtuse, or right.

We know that in a right angled triangle ,  the greatest side is
hypotenuse.

So if ABC  is a right angled triangle with a right angle
at B, then the greatest side is the hopetenuse AC .

Therefore AC^2 =
AB^2+BC^2.

Also from  trigonometry ,  for any angle
B,

AC^2  = AB^2+BC^2 - 2AB*BC
cosB....(1).

1 > CosB > 0  for B< 90
deg

CosB = 0 for B = 90 deg.

-1
< Cos B < 0 for 
B>0.

Therefore,

 AC^2  <
AB^2+BC^2 for  B < 90.

AC^2 = AB^2+BC^2  for B = 9
deg.

AC^2 > AB^2+BC^2 for B > 90
deg.

Therefore,  a triangle is acute , right or obtuse
according as the square on the greatest side is 
less than, or equal to, or greater than the sum of the
squares on the other two lesser
sides.

At one point, Watson and Sir Henry have a trip on the moor Why might the author have written such a description?

I assume that you are talking about the episode in Chapter
VI where Watson, Sir Henry and Mortimer are headed to Baskerville Hall for the first
time.  This chapter contains a description of their trip across the moor.  I believe
that the author wrote the description so that we would understand the tension that would
face Sir Henry.

If you look at the description of the moor
in Chapter VI, it is at once a beautiful place and one that is desolate and eerie.  It's
a mysterious place where you can be going along through fertile country and then
suddenly come to wild places.  The moor as a whole seems in some way
forbidding.

By telling us this, the author shows why Sir
Henry would want to live here.  It is not only his ancestral land, but it is also
beautiful and, in places, fertile.  But the author is also trying to increase the
tension in the story.  He is making us feel that the moor is a dangerous place and that
we can really have no idea as to what sort of bad or evil thing might happen
next.

So, by describing the moor, the author gives us a
better understanding of Sir Henry's motivations, but also creates a mysterious and
foreboding mood in the story.

In Brave New World, why does John refuse to attend the party for the Archbishop?

We are given the answer to this question at the beginning of
Chapter 12, when Bernard is trying desperately to continue exploiting the savage to boost his own
credentials in his society. Note the selected audience that has been invited to this "party" that
is indicated in the rest of the chapter. However, what is clear is that John is fed up of the way
that Bernard is using him, and he dislikes the way that he has been dragged around without any
consultation or permission requested. Consider what the dialogue between John and Bernard reveals
about his reasons for not appearing at the party:

readability="12">

"I asked them on purpose to meet
you."

"You ought to have asked me first whether I wanted to meet
them"

"But you always came before,
John."

"That's precisely why I don't want to come
again."

Here we clearly see that
Bernard has exhausted John's patience and now John wants more control of his life and does not
want to be carted around like an exhibition any more to be gawped at by strangers who treat him
as a curiosity rather than a human.

How is the novel, A Thousand Spledid Suns by Khaled Hosseini, a feminist novel?i need four points to proove it...i have 2: i.) before...

Hello!

A Thousand Splendid
Suns can be examined as a feminist novel not in that it actively speaks out against the
subjugation of women in Afghanistan, but in that it describes the horrors inflicted on
women through the two main characters, thus inciting a feminist reaction from the
reader.

For your essay, here are some points found within
the pages of the novel to prove your thesis:

1. Education,
or lack there of for women, could be used as one point. You can use many instances in
the novel where this shows up to prove that point.

2. Women
are forbidden to leave their homes unless accompanied by a male relative. When the main
characters of this novel leave their home together and are sent back, they are beaten
and threatened with worse punishment if they do it
again.

3. Women are forbidden to show their faces. They are
required to wear a burqa in public at all times. They are not even allowed to laugh in
public. The punishment for breaking these rules is also
beatings.

4. The most important point you can make and
should save for last is the fact that in Afghanistan, women's rights under the law are
non-existant. A man has the right to punish the women of his household how he sees fit
without any interference from the law. The perfect example of this in the novel is when
Laila speaks to an officer about returning home, and asks if he will protect her from
her husband:

He responds: "As a matter of policy, we do not
interfere with private family matters,
hamshira."

"Of course you don't. When it benefits
the man. And isn't this a 'private family matter,' as you say? Isn't
it?"

Hope this helps!

In your country is the life of a young woman today different from the lives of young women fifty years ago? give examples.

I belong to Pakistan, an Asian country, where the life of
a young women, fifty years ago, was very much different from the life of a young women
living in my age/period. Although there are certain places in my country,where women is
still living a pathetic life... but an overall analysis shows that the attitudes towards
education, job opportunities and social status of women have been changed. I can offer
you my example, I am a teacher by profession..... and the very first one who completed
her master's level degree and got a government job. My grandmother was not allowed to go
to the high school even.

We have lady Parliamentarians,
lady Prime Minister ( Benazir Bhutto), the  last governer of Pakistan's State Bank was a
lady, we also have lady doctors and other highly professional ladies today... but it is
true that almost fifty years ago, the social, educational and working conditions were
not suitable for ladies. they were not even allowed to take decisions of their own. They
were not having  their identity. Although they were given the right to vote... but there
was no political awareness among them.

For the above
reasons, I can conclude that a young woman is having more bright possibilities
today.

Calculate (x-2)/(x+1)+(x+3)/(x+2)-(5-x^2)/(x^2+3x+2).

To perform additions and subtractions of ratios, they must
have the same denominator.

We'll have to calculate the
least common denominator of the given ratios. For this reason, we'll use factorization
for the denominator of the 3rd ratio.

We'll determine the
roots of the expression x^2+3x+2:

x^2+3x+2 =
0

We'll apply the quadratic
formula:

x1 = [-3 + sqrt(9 -
8)]/2

x1 = (-3+1)/2

x1 =
-1

x2 = (-3-1)/2

x2 =
-2

We'll re-write the expression x^2+3x+2 as a product of
linear factors:

x^2+3x+2 =
(x-x1)(x-x2)

x^2+3x+2 =
(x+1)(x+2)

We'll re-write the given
expression:

E(x) =
(x-2)/(x+1)+(x+3)/(x+2)-(5-x^2)/(x+1)(x+2)

We notice that
the least common denominator of the 3 ratios is the denominator of the 3rd
ratio:

LCD = (x+1)(x+2)

E(x) =
[(x-2)(x+2)+(x+3)(x+1)-(5-x^2)]/(x+1)(x+2)

We'll remove the
brackets. We'll recognize the difference of
squares:

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

E(x) =
[(x-2)(x+2)+(x+3)(x+1)-(5-x^2)]/(x+1)(x+2)

E(x) = (x^2 - 4
+ x^2 + 4x + 3 - 5 + x^2)/(x+1)(x+2)

We'll combine like
terms:

E(x) = (3x^2 + 4x -
6)/(x+1)(x+2)

In the play Macbeth,what ideas does Shakespeare develop regarding dilemmas?

The play Macbeth is wrought with
dilemmas and these cause characters to have serious internal conflicts.  For example,
early in the play, Macbeth is faced with the dilemma over whether or not to kill King
Duncan.  On one hand, he really wants to be king and have the witches' prediction come
true, but he realizes that Malcolm has just been named Prince of Cumberland and is
therefore the heir to the throne.  He does not see how he can become king if Malcolm is
in the way.  Macbeth's dilemma is further complicated when he reveals his problems to
Lady Macbeth--she wants him to be less cowardly and go after his ambitions so she chides
his manhood and tells him that he would be more of a man if he were to kill the king to
take his title.  Macbeth's dilemma then questions his moral character:  does he follow
his ambition or does he respect Duncan's life and rule?  Shakespeare couches Macbeth's
dilemma in the tension between fate and free will--should Macbeth allow fate to control
his life or should he act to get what he wants?

How did the relationship between the characters create their motivations in "The Monkey's Paw"?

CHARACTER MOTIVATION IN
"THE MONKEY'S
PAW"

• SERGEANT-MAJOR MORRIS. Morris
  apparently loves being the center of attention and to tell stories about his travels in the
  service. He also likes to drink, and he must have been lonely to come to such an out-of-the-way
  place on such a bad night. He must have brought the terrible paw in order to entertain his
  friends with another strange tale.


• MR. WHITE. The father likes to
  take the occasional gamble, as he shows during his chess match with Herbert. Retired, simple and
  otherwise conservative, he allows himself to be manipulated by the others in regards to the paw.
  First he saves it from the fire, and then he pays Morris for it. Then, when he can think of
  nothing greater than paying off his mortgage, his first wish is for a mere 200 pounds. He does
  not have the courage to destroy the paw after the first wish, and he only compounds the terror by
  completing the wish cycle of the paw.


• HERBERT. Young and
  impetuous, Herbert jokes about the paw and its powers, but its impact on Herbert is no laughing
  matter. The joy of the Whites' life, Herbert is taken from them with the first wish of the
  paw.


• MRS. WHITE. A simple, aging housewife, she dotes on her
  single son, who still lives at home, and her grief at his death prompts her to suggest the
  chilling second wish. Like the second wish itself, Mrs. White doesn't think things through, and
  she clearly has no idea what terrors can come with the
  paw.

What is the relationship between atomic size and atomic number of an atom?

When you look at the structure of the atom, you have a
dense, positive nucleus composed of protons and neutrons. Around the nucleus are a equal
number of negatively charged electrons.  There are two trends taking place when you look
at the elements in the periodic table.

As you go from left
to right in the same period (row) each new element adds one proton (its atomic number)
and one electron. Because the protons are densely packed their increasing positive
charge pulls on the electrons more strongly and the size of the atom gets smaller as you
go across any row.

When you go down a group (a column on
the periodic table) you are adding an additional layer or shell of electrons which are
further from the nucleus than the previous row.  Because Coulomb's law  (F = kQ1Q2/d^2)
says that the force between two particles in inversely proportional to the
square of the distance, the attraction between the positive
nucleus and the surrounding electrons quickly diminishes as the additional electrons are
added. As a result, as you go down a group, the size of the atom will
increase.

In summary, atomic size decreases in a given
period, and increases in a given row.