Please give a critial appreciation of "A Valediction: Forbidding Mourning."

This is a metaphysical poem and famous for its metaphysical
conceits, which are odd and surprising figures of speech in which one thing is compared to
another thing that is very much unlike it. These metaphysical conceits are of course presented in
the context of the poem, which concerns a dying husband telling his wife to behave with quiet
dignity as they part, just as virtuous and good people die without drama or display. The
metaphysical imagery is used to describe their relationship as a union of souls that are so
united that even death or distance cannot truly part them from each
other.

The most beautiful image that the poem uses is when the
speaker compares their souls to the two "feet" of the the compass, which are of course
united:

Our two souls
therefore, which are one,

Though I must go, endure not
yet

A breach, but an expansion,

Like
gold to airy thinness beat.

Imagining
their souls as the feet of the compass allows the speaker and his wife to see their separation
not as a "breach" but only as "an expansion" as the two feet of the compass part. Note how this
powerful and poignant image is developed:

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And though it in the centre
sit,

Yet when the other far doth
roam,

It leans, and hearkens after
it,

And grows erect, as that comes
home.

This is a beautiful image that
describes the way that, while separate, they still remain connected, as the centre "foot" "leans"
and "hearkens" after the other foot to which it is connected. Thus it is that this poem describes
the connection of a man and wife and their souls after one of them dies, and how, through their
union, they never really "separate."

What ways do crime control model advocates approach bail differently than do backers of due process model?

The most common diference between these two groups is that
backers of the crime control model want bail to generally be less available (and higher
when it is available) than backers of the due process model would
like.

The backers of the crime control model want the
criminal justice system to be relatively punitive and to be more skeptical of giving
rights and privileges to those charged with crimes.  They are more inclined to err on
the side of being too harsh so that society might be protected.  Accordingly, they
dislike bail.  They worry that those released on bail would be more likely to commit
further crimes while they await trial.  If bail were higher, more people would remain in
jail before trial and would therefore not be able to commit further
crimes.

What are some symbols in "Richard Cory"?

Edwin Arlington Robinson's poem "Richard Cory" is rich in
symbolism, imagery, and motif, the most important of which
are:

"Richard Cory": the name
itself is symbolic of the man, as it has the word "rich" in it, repeated in line 9: "And
he was rich—yes, richer than a king."  The surname "Cory" is a spin on "core," echoed in
line 3 "from heat to toe" and line 6 "he was always
human."

The body: appearances
are symbolic and, by virtue of the last line, deceiving as well.  Body symbolism and
imagery include "sole to crown," "fluttered pulses," "the bullet through his head."
 Even the "meat" and "bread" (together forming the "Body of Christ" sacrament) connote
suffering.  Together, the people's focus on his bodily figure is ironically undercut by
his unhappy suicide and separation from
them.

The town: the geography
of the town symbolically shows Richard Cory's separation from and status above the
townspeople, with dualities of "down town" vs. his "home" where he "was richer than a
king."  Line 2 clearly shows the gap in social class between R.C. and the town: "We
people on the pavement looked at him."  This implies that R.C. towered or hovered above
the masses.

In The Odyssey, how does Telemachus prove himself equal yet obedient to his father concerning the bow?book 21

I would argue that Telemachus does not quite show himself to be
equal to Odysseus, but he clearly shows that he is obedient to his
father.

Telemachus almost shows himself to be equal to his father
because he is going to be able to string the bow. However, it is only on his fourth try that he
looks like he is going to be strong enough to bend the bow and get the string in place. Odysseus,
by contrast, is able to string the bow very easily. So Telemachus is closer to being equal to his
father than the suitors are, but he is clearly not quite equal.

It
is clear, though, that he obeys his father. When Telemachus is about to succeed in stringing the
bow, he sees his disguised father give him a sign. When Telemachus sees the sign, he immediately
gives up trying to string the bow. This shows that he obeys his father even if it makes
Telemachus himself look bad.

Why is John of Gaunt's role important to the play Richard ll?In what way does he move or enhance the story?

Richard II is a play rich in
character studies.  The most investigated character, of course, is Richard, and the
heart of the play is the study of the sort of king that Richard is.  The question that
swirls throughout the play is, "Does the divine right of rule give a King license to
mis-govern his people?"  Richard was ill-suited for the position of ruler of a country,
and yet, by his birth (divine right) he was the "right" King of
England.

John of Gaunt is Richard's uncle and father to
Richard's challenger -- Henry Bolingbroke.  He serves as the King's advisor, and though
he dies at the beginning of Act II, he has an important role to play in reflecting the
dilemma between acting in one's "personal" interest and doing what is best for one's
country.  He must banish his son (who smells of revolt and treason against the rightful
King Richard) in Act I, scene iii.

This decision, to set
his love for his son and his opinion that Richard is not the best man to be king aside,
reflects John of Gaunt's willingness to put his country first.  Something that King
Richard (no matter how many times he refers to himself in the royal plural "We") cannot
seem to do.  John of Gaunt represents the personal sacrifice, sometimes of consideration
of one's own family, that one must make in true service to one's
country.

John of Gaunt dies in the opening scene of Act II,
but not before he proves as good as any Greek oracle, warning Richard to abandon his
destructive path or lose his country.  And, as might be expected of the self-involved
king that he is, Richard ignores his uncle's advice and, upon his death, simply
confiscates his riches for more wasteful spending.  Before the play is over, Henry
Bolingbroke, presented by Shakespeare as much more suitable for the role of King, will
have usurped the crown.

In the novel Oryx and Crake by Margaret Atwood, what are some important symbols in the story?

You might like to think of the way that words function as
symbols in this excellent dystopian classic. Note the way in which Jimmy calls himself "Snowman"
and savours the sound of words that are now obsolete in this brave new world. The reason why his
head is full of all of these words is that he knows that when he forgets them they will be lost
forever. This could be seen as a symbol for humanity in this novel. After the disease that Crake
has unleashed, humanity is an endangered species, with Jimmy perhaps the one sole survivor, and,
just as the words he uses will pass into obscurity, it looks very much as if humanity is heading
that way too. Note the way in which there is a certain biting irony in Jimmy's name for himself.
Naming himself after the "Abomninable Snowman," is, for Jimmy, a symbol of man's ephemeral
nature, because it is "a white illusion of man... existing and not existing." Names therefore
point towards the seismic change that has occurred and the passing of
humanity.

The area of a rectangle is 16. The length is x^5/ (x+1) and the width is ( x+1)/ x^3 . what is x?

Given that the length of the rectangle ( L ) = x^5/
(x+1)

Also, given that the width ( w) = (x+1)/
x^3

We need to determine (x) such that the area of the
rectangle is 16 square units.

We know that the area of the
rectangle (a) is:

a = Length * width = L*w =
16

==> [( x^5 / (x+ 1)] * [(x+1)/ x^3)] =
16

==> (x^5 ( x+ 1) / ( x+ 1) x^3 =
16

We will reduce similar
terms.

==> x^5 / x^3 =
16

From exponent properties we know that x^a/ x^b =
x^(a-b)

==> x^(5 - 3) =
16

==> x^2 = 16

Now we
will take the root for both sides:

==>
x= 4