How are "The Monkey's Paw" and "The Third Wish" plot lines similar?possibly include: exposition, rising action, climax, falling action?

"The Monkey's Paw" by W.W. Jacobs and "The Third Wish" by
Joan Aiken are two stories which obviously share several plot
elements.

In terms of exposition, each story has a
perfectly content protagonist who is simply doing a normal thing--playing chess and
driving.  The inciting action is also similar, in that each protagonist is suddenly and
unexpectedly given the ability to make wishes that come true.  The rising acting is not
as similar, in that the monkey's paw is bringing bad luck and the leaves given by the
swan are bringing good luck.  The climax/turning point is similar, as a death is
involved.  The falling action is not particularly similar, nor is the
denouement.

While the two works have points of
similarities, of course, the major difference between the two can be found more in the
tone and mood of the stories.  "The Monkey's Paw" is much darker and more sinister, as
demonstrated first by the setting.  The weather is foul, the visitor is somewhat
mysterious, as is the legend of the paw.  Despite the auspiciousness of getting to make
wishes come true, tragic things are clearly ahead.  In contrast, "The Third Wish" reads
more like a fairy tale which has magical and romantic elements, and the tragedy is more
mournful and sad than awful and horrific.  Clearly the themes are different, as
well.

It's interesting to make the comparison because the
idea of wishes is unique enough to merit it; however, the stories are probably more
different than alike. 

In Cry, the Beloved Country, to what decisions did Kumalo come in Enzenzeleni?Chapters 11-14

Chapter 13 when Kumalo accompanies his friend, Msimangu,
to Ezenzeleni, the colony for the blind where whites work and help blacks who are blind
or are going blind, is a turning point for Kumalo in lots of ways. Let us remember what
kind of state of mind Kumalo is in before he goes. He has been overwhelmed by the social
problems of South Africa in the cities. He has discovered that his sister has been
working as a prostitute and that he has a nephew who has been born out of wedlock. He
has also heard about the disturbing news of the murder of Arthur Jarvis, and feels a
dread that somehow his son, Absalom, is responsible, even though he has no proof at this
stage.

This puts him into a kind of depression as he comes
to realise a central fact that he had been trying to
ignore:

Yes -
it was true, then. He had admitted it to himself. The tribe was broken, and would be
mended no more. He bowed his head. It was as though a man borne upward into the air felt
suddenly that the wings of miracle dropped away from him, so that he looked down upon
the earth, sick with fear and apprehension. The tribe was broken, and would be mended no
more.

Note how the use of
repetition strengthens the idea of Kumalo trying to convince himself of this fact and
the hopelessness of the situation.

Yet, as Msimangu
preaches later on in this chapter to the community at Ezenzeleni, it is clear that
Kumalo is restored by his words and given a new sense of hope. Although he feels he is
suffering terribly, Kumalo is reminded of the strength of the God he believes him to
sustain him and reinvigorate him for the trials ahead. He resolves to go back trusting
in that strength for what he will face rather than in his own
strength.

How does the motif of falling apply to Holden?Holden mentions about being the Catcher in the rye but how does Holden himself "fall" from the cliff.

In The Catcher in the Rye, "falling" or
"The Fall" is an allusion to the "Fall of Mankind" in the Genesis "Garden of Eden" story. There,
Adam and Eve partake of the Tree of the Knowledge of Good and Evil.  Some people interpret this
as having carnal relations.  Regardless, their fall introduced humanity to sin, shame, guilt, and
a state of "falleness" (separation from God, the supreme authority
figure).

So it is for Holden,
who is in a state of "falleness" from authority the entire book: he
is separated from his parents, his school and teachers.  Moreover, he is separated from his
brother, sister, Jane, "friends," and even himself. Unlike Adam and Eve, who were exiled by God
from paradise, Holden exiles himself after his fall from a corrupt
society: he intentionally flunks out of school and runs away from
home.

The title of the book refers to
Holden wanting to be a "catcher in the rye" who rescues children
from falling off a cliff.  As such, he wants to be a teenage savior to children, preventing them
from falling into the corrupt adult world as teenagers.  He also wants to save them from death:
Holden suffers from survivor's guilt over his brother's (Allie)
death.  In general, though, he wants to rescue kids from the adult worlds of materialism, sex,
and hypocrisy (phoniness).  In a Holden's perfect world, children would forever remain
innocent, un-fallen and free of guilt, shame, and sin.  In effect, he wants them and
himself to stay like Allie--forever frozen in time.

Mr.
Antollini himself tries to save Holden from falling.  He says Holden is “in for a
terrible fall.”  His advice is:

readability="7">

"The mark of the immature man is that he wants to die
nobly for a cause, while the mark of the mature man is that he wants to live humbly for
one."

Mr. Antollini was the one who
found James Castle (initials "J. C." for Jesus Christ--a martyr), who is Holden's romantic hero,
after his fall.  Antollini could not save James Castle from falling (jumping; suicide) from his
window, but he did cover him up to prevent the rubberneckers from laughing at his dead
body.

Antollini (critically believed to be the voice of Salinger)
believes that Holden too is headed for the same fall as Castle
(suicide).  His advice quoted above suggests that he himself lives humbly for a
cause, instead of dying for one.  Holden's cause is demonstrated by the entire novel itself.  The
novel serves as a kind of "catcher in the rye" because it attempts to steer its readers away from
falling from the dangerous cliffs of the corrupt adult world.

What is the tone of Robert Herrick's poem,"To Virgins, to Make Much of Time"?

This poem is a famous example of a type of literature referred
to as "carpe diem" literature. This is a Latin phrase meaning "seize the day." Thus, in this
poem, the speaker addresses all "virgins" or young women and urges them to marry now rather than
wait until it is too late and they have lost their "prime." Note how the first stanza builds up
this impression through the use of imagery:

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Gather ye rosebuds while ye
may,

Old Time is still a-flying;

And
this same flower that smiles today,

Tomorrow will be
dying.

In an implied metaphor, the
"virgins" or young women are compared to the "flower that smiles today" but might have withered
by tomorrow. Thus when we think about the tone of this poem we can characterise it as one of
persuasive urgency - the speaker is really trying to encourage his audience not to "tarry"
because if they do it might be too late.

What page or chapter does Bruno say something like "they got to hang out in their pajamas all day"?I remember reading it, but I can't seem to find...

In Chapter 14, Bruno is visiting Shmuel and they are talking
about the two sides of the fence. Bruno wants to come over to the other side, but Shmuel tells
him he doesn't think it is a good idea. Shmuel tells Bruno that he doesn't understand his desire
to see his side of the fence because it isn't very nice. Bruno, having been raised privileged,
does not understand. He thinks that only having three floors in his house is a disadvantage. One
day Bruno asked if everyone on that side of the fence wore the same striped pajames and cloth
caps. Shmuel tells him that they were given those clothes when they arrived and that their other
clothes were taken from them. Bruno says that he doesn't even like stripes, but he is tired of
wearing trousers and shirts and ties and shoes that were too tight for him. It doesn't seem fair
to him that Shmuel and all of his friends "got to wear striped pajamas all day long." (pg 152)
The page number is for my edition of the book. It may be a little different for you. However, it
is in chapter 14.

A road has a steady gradient of 1 in 10. What angle does the road make with the horizontal? Give your answer to the nearest degree.

Gradient is the ratio of  height over the horizontal
distance.

A gradient of 1 in 10 means  that for every 10
meter of horizontal movement  we go by a height of one
meter.

We measure the gradient as the tangent of an angle.
The angles are measured in degrees or  radians. The tagent ratio of an angle ina right
angled triangle is the ratio of the opposite side to the adjascent side  of the
angle.

Thus if the section  has the gradient of 1/10,  it
is equivalent to thetangent ratio of angle A of a right angled triangle whose right
angle making sides are AB=  10 and BC = 1.

Therefore, by
trigonometry, tanA = 1/10.

Or angle = arc tangent
(1/10).

Therefore x = 5.7106 degree nearly (by 
calculator).

Hope this helps.

What is the derivative of ln[(sqrt(x+4)*(x+3)^2)/(sqrt3(x+5)) + 50?

We  use  the following  formula , rules and
notations::

d/dxf(x) = f'(x) or
(f(x))'

d/dx (kx^n) =
k*nx^(n-1).

d/dx{ f(x)*g(x) } =  f'(x)g(x) -
f(x)g('x).

d/dx{ f(x)/g(x)} = [f'(x)*g(x)-
f(x)*g'(x)}/(g(x))^2.

d/dx f(g(x)) =  (df/dg )g'(x) , also
called chain rule

d/dx ln f(x) = {1/f(x)
}f'(x)

..............

Given
 f(x) =  ln[(sqrt(x+4)*(x+3)^2)/(sqrt3(x+5)) + 50?

RHS : 50
is treated as the 2nd term. And sqrt3(x+3) is treated as
(sqrt3)(x+5).

LHS : the one sided rectangular bracket [ is
ignored as there is no right pair inthe expression.

WE
consider:

f(x)  = u(x)/v(x)
+50,

where u(x) =
ln(sqrt(x+4)*(x+3)^2).

Therefore f'(x) = {u(x)/v(x)}'
+(50)'

f'(x) = {u'(x)v(x)-u(x)v,(x)}/{v(x)}^2
..............(1), as (50)' = 0.

u'(x) =
1/sqrt(x+4)*(x+3)^2 * {sqrt(x+4)*(x+3)^2}'

u'(x) =
{(1/2)(x+4)^(-1/2)*(x+3)^2 +
(x+4)^(1/2)*2(x+3)}/sqrt(x+4)*(x+3)^2

u'(x)={(x+3)^2
+4(x+4)(x+3)}/2(x+4)(x+3)^2

u'(x) = {x^2+6x+9+4x^2+28x+48}/
2(x+4)(x+3)62

u'(x) =
(5x^2+34x+57)/2(x+4)(x+3)^2

u'(x) =
(5x+19)(x+3)/2(x+4)(x+3) ^2

u'(x)
=(5x+19)/2(x+4)...........(2)

v(x) =
(sqrt3)(x+5)

v'(x) =
(sqrt3)(x+5)'

v'(x) =
sqrt3.

Substituting in (1) , the values
obtained in (2) and (3), we get:

f'(x) =
{{(5x+19)/2(x+4)}*(sqrt3)(x+5) + ln(sqrt(x+4)*(x+3)^2) *(sqrt3)(x+5)}/
((sqrt3)(x+5))^2

f'(x) = {sqrt3(5x+19)(x+5)
+2(sqrt3)(x+4)ln(sqrt(x+4)*(x+3)^2)}/3(x+5)^2.