you can often hear this phrase at comicons.
It means to get in touch with the sexy and kick butt female within yourself. As the previous post points out, Salior Moon is a big hottie in the world of anime. Depending on your view of Sailor Moon and feminism, this is a statement of empowerment (go girls!) or a sexist remark.
It's pretty much what it sounds like. In their society they have police to monitor all your actions; they also have special "police" to monitor your thoughts. This is possible because you can commit "thought crime" in their society. Their task is to go beyond hunting down criminal acts and instead hunt out criminal thoughts, which are any thoughts that go against those approved by the state. For example, it is a crime to stand up and shout, "Down with Big Brother," and in their society, it is also a crime to even think it.
This view that thought can be a crime is shared by many totalitarian societies; Stalin is thought to have had 20 million of his own people killed, many of them on suspicion of thoughts against the state. It's pretty easy to control people if they know their neighbor disappeared last night for what he/she thought.
Parsons is a good example in the book (although he is almost comic). He is turned in by his children for thought crime and thanks them for it because, as he says, he wasn't even aware that he was committing thought crime.
Pretty scary...
The minimum product of two numbers has to be determined where the difference of the numbers is 9.
If one of the numbers is represented by x, the other number is x - 9.
The product of the two numbers is x*(x - 9) = x^2 - 9x
Now if we plot y = x^2 - 9x we get the following graph:
Take the derivative of y = x^2 - 9x
dy/dx = 2x - 9
equate this to 0 and solve for x
2x - 9 = 0
x = 4.5
At x = 4.5, y = (4.5)^2 - 9*(4.5) = -20.25
The minimum value of the product is -20.25
Perhaps the moral of Steinbeck's novel, "Of Mice and Men" is an existential one. The "best laid schemes o' Man an' Mouse," do go "awry" as Robert Burns wrote in his poem because the brotherhood of men was never so shattered as in the Great Depression when men left their families either out of despair as Arlo Guthrie did, or when they left in search of work. At any rate, they were lonely, desperate men in this time, isolated misfits.
In his novel Steinbeck shows that humans cannot live in isolation without consequences. Steinbeck seems to be saying " I regret that Man's dominion has broken Nature's social union" when George is forced to shoot his friend Lennie.
Steinbeck's belief in the interdependence of society is a theme he explores throughout the novel. Often Slim with his "God-like eyes" is the one who intervenes in situations. He is the one who consoles Candy when his dog is shot, telling him he can have one of his dog's pups. Slim is also the one who consoles George after Lennie's "mercy" killing and takes him in as a friend: "you hadda, George. I swear you hadda. Come on with me."
The producers were right. 28 has factors of 1,2,4,7,14 and 28 while 32 has faxtors of 1,2,4,8,16,32.
As you can see. 32 and 28 have similar factors of 1,2 and 4. 1 is considered a factor as all numbers under the sun have a factor of 1, or you could say a common divisor tool.
Poets use poetic techniques such as similes, metaphors and alliteration to increase the depth, profundity, mood and tone of the piece. Let's take a look at the first stanza that you have mentioned, and see how those devices have an impact. The very first line contains a simile (comparing two things using "like" or "as"): "She walks in beauty like the night". Byron then goes on to expand on that simile, saying, that like the night, her eyes have "all that's best of dark and bright", referring to the beauty of the dark skies, and the light of the stars. Using a simile here greatly increases the depth of what Byron is saying. He could've just said, "She sure is pretty" but instead compares her beauty to the vast and eternal sky; that says so much more.
The alliteration in the first stanza adds a serene, rhythmic feel to the poem. Using "cloudless climes" and "starry skies" gives the poem a soothing, melodic, lyrical quality to the poem, increasing its beauty. Both of these techniques enhance the impact, the beauty and efficacy of the poem.
Simon goes to his "haven"--his place of solitude. He has his own place in the jungle, and that's where he retreats to when he wants to think or be alone. When he's in this place, he is able to see all the beauty of the island, rather than the ugliness that has developed with the presence of the boys. This part of chapter 3 explains his actions as he moves into his place.
Simon dropped the screen of leaves back into place. The slope of the bars of honey-colored sunlight decreased; they slid up the bushes, passed over the green candle-like buds, moved up toward the canopy, and darkness thickened under the trees. With the fading of the light the riotous colors died and the heat and urgency cooled away. The candle-buds stirred, their green sepals drew back a little and the white tips of the flowers rose delicately to meet the open air.
According to the IAU (International Astronomical Union) Saturn, which is the sixth planet from the sun has
"18 known moons that have received officially sanctioned names."
The most famous of the moons of Saturn is Titan. Most of the moons which revolve around Saturn are mostly made up of ice with only about 30% rock.
"Voyager 1 revealed that Titan may have seas of liquid methane bordered by organic tarlike matter. Titan's thick blanket of orange clouds, however, prevent a direct view of the surface."
The chorus is giving a warning to Creon. In the first part of the first sentenc, "widsom is by far the greatest part of joy", the chorus is pointing out that in order to be happy, one must be wise and act on that wisdom. In the second part of the sentence explains that wisdom mean following the gods' laws. Creon has disregarded the laws of the gods by preventing the burial of Polyneices. Creon has been warned that this disobedience is caused by pride, or "hubris" as the Greeks called it. The second sentence spells out what the consequences of pride and disobedience to the gods is. The Chorus says that Creon's words forbidding the buial of Polyneices will be "paid in fully with mighty blows of fate." In other words, the gods will see to it that events will occur that will punish Creon for his disobedience. The final consequence will be that "these blows will teach us wisdom." Thus, after suffering the consequence of his actions, Creon will finally learn wisdom and will realize the consequences that go with disobedience to the gods' laws.
Good question! The Roman historian Suetonius writes of Caesar that he
...is said to have been tall of stature with a fair complexion, shapely limbs, a somewhat full face, and keen black eyes; [...] He was somewhat overnice in the care of his person, being not only carefully trimmed and shaved, but even having superfluous hair plucked out, as some have charged; while his baldness was a disfigurement would troubled him greatly, since he found that it was often the subject of the gibes of his detractors...
They say, too, that he was remarkable in his dress; that he wore a senator's tunic with fringed sleeves reaching to the wrist, and always had a girdle over it, though rather a loose one; and this, they say, was the occasion of Sulla's mot, when he often warned the nobles to keep an eye on the ill-girt boy.
There are also (search in Google Images) lots of busts and statues which give us an idea of what the real Caesar looked like.
Shakespeare's Caesar is an old man, deaf in one ear and with some eyesight problems. He also "has the falling sickness" - suffers from epilepsy: a trait that some historians think he might have in common with the historical period. But Shakespeare, as ever, doesn't tell us a huge amount about his appearance!
In the novel "Lord of the Flies" careful attention is payed to the way the in depth descriptions of the island was used to create imagery and persuade the readers response. For example on page 14/15, there is much emphasis on the brightness and color of the island. This influences the reader to think that the island is like a tropical paradise full of joy and happiness.
The weather in "Lord of the Flies" plays a major role in representing the attitudes, behavior and mood of the boys throughout the novel. The beach during the day is always described as bright and there is little or no conflict and the ocean is always calm. In the more dense parts of the jungle on the island, it is always described as dark and scary. On the night of Simon's killing, the author describes the night as pitch black and there is great detail of a violent storm raging on the island and the ocean is extremely rough. The weather and ocean symbolize the boy's anger and hatred.
It is evident that plot, setting and characterization in fiction texts all have a significant effect on the reader's response. The reader is made to feel sympathetic towards the characters that are alienated from society, and angry towards those who are mean and violent. The plot has an extremely important role on the reader because it has to maintain their attention and interest. Essentially, plot, setting and characters provide the reader with an image, and their response will be affected depending on how effectively the image is presented.
I'd argue that the reason the duplicity of the Danish court affects Hamlet is that it creates a real problem about whether you can believe what you see.
O villain, villain, smiling, damned villain!
My tables—meet it is I set it down
That one may smile, and smile, and be a villain;
At least I am sure it may be so in Denmark.
One may smile - and still be a villain. Appearances can be deceptive, so deceptive that even Hamlet had not really suspected Claudius of being the murderer (despite the fact he sort of claims he had - "my prophetic soul"...).
Point being, the audience don't suspect it either. Claudius has been very charming in Act 1, Scene 2, and has shown no real signs of being a sinister, plotting murderer. It's not until his prayer scene that we actually realise that he has in fact done it.
Because Hamlet doesn't trust the ghost. Nor do we:
The spirit I have seen
May be a devil, and the devil hath power
T'assume a pleasing shape ... (2.2.596-8)
The ghost, Claudius, Polonius (who seems a foolish, fond old man, but is in fact a sinister manipulator), his mother, Ophelia (women "jig, amble, and... lisp... nickname God's creatures", and wear make up - a sign that they can't be trusted!) - no-one, apart from Horatio is straightforward and honest.
Duplicity is undoubtedly a theme. And it stops Hamlet from revenging because it's so difficult to see the truth. How can he tell what happened to his father? How can he know?
In this poem, the writer describes three members of the animal kingdom that are considered to be "blind" by the human world, yet each manages to get by quite well. De La Mare speaks first about the Mole, who despite its "blindness", sustains itself by eating the worms that it "gropes" for in its "cambered hole". Although to us it might appear that the Mole is limited in its ability because it cannot "see", in reality, it is perfectly capable of taking care of itself. What senses it possesses allow it to "see" as clearly as it needs to.
The writer next talks about the Bat, another creature that, from our point of view, seems to be lacking the sense of sight. Yet even without being able to "see", it is able to navigate flawlessly "in the evening sky", flying freely without difficulty. The same is true of the Barn Owl. Like the Mole and the Bat, it does not "see" with its eyes like we do, so we think it is "blind", but it, too, manages to get along quite well. Indeed, the senses the Mole, Bat, and Barn Owl do have might be even more acute than the gift of sight as we envision it.
De la Mare is saying that "sight" is different things to different people (or creatures in general). Just as we think the Mole, Bat, and Barn Owl are "blind" because they do not "see" as we do, so others might think we are blind because we do not "see" as do they. In a metaphorical sense, "sight" is "understanding". I might think someone else is "blind" because they don't perceive things as I do, but by the same token, my understanding of something might make someone else think that I am the one who is lacking in the ability to "see".
Hemingway believed that no matter what comes of our efforts, our nobility comes from the way we perform (with honor and dignity) rather than whether we win (achieve whatever it is we set out to do). Both Santiage and the fish lose in this book; the fish is caught and loses its life only to be devoured by sharks before it is brought to land; Santiago lands the fish after exhausting efforts on his part, only to lose his catch before brining it to shore. Were all their efforts wasted because of the "sharks" in this world? No. Since the results are always uncertain, the only thing that counts, in Heminway's philosophy, is that we struggle nobily, without complaining, that we follow the rules of the "fight." Since we cannot control the outcome, we can only be judged by the effort.
Hawthorne is a very symbolic writer, and "Rappaccini's Daughter" is no exception. There's one overwhelming symbol in this short story, and it's carried throughout the work--the purple plant as sister to Beatrice.
The first time we see the purple plant is when Dr. Rappaccini is in the garden and draws near to the plant. When he does, he calls out for his daughter to come take care of it--despite the fact that he's wearing gloves and a mask for protection while she's wearing none. When we see her, Beatrice appears to be one of the flowers herself, both in skin tone and in dress. She is wearing a purple dress, much like the plant her father has called her to attend to.
Then, with all the tenderness in her manner that was so strikingly expressed in her words, she busied herself with such attentions as the plant seemed to require; and Giovanni, at his lofty window, rubbed his eyes, and almost doubted whether it were a girl tending her favorite flower, or one sister performing the duties of affection to another.
Beatrice approaches the plant with obvious joy, addressing it as her sister. She hugs it and tends to it as affectionately and kindly as if they were, indeed, sisters.
Over the course of the story, we learn that this is not so far from the truth. The purple-flowered plant was planted on the exact day Beatrice was born. It's constantly referred to as her sister, as well. The symbolism is too obvious to miss--they two of them are one, symbolically, and what happens to one will happen to the other.
Remember, Rappaccini could no longer touch the plant, for it had become too deadly for him. The same, of course, is true for Beatrice. Despite the fact that the evil doctor has "created" an Adam for his daughter Eve, she will not be able to go anywhere, do anything, or touch anyone outside the confines of this garden. What Rappaccini fails to understand is that he has created two monsters, and one of them will soon know it and hate him for it.
In order to improve the Geico ad, I would advise them to tell more about their services and actual savings rather than concentrating so much on the gecko. For example: While the Progressive spokesperson "Flo" is highlighted in all of their advertising, she spends time talking about their goods and services rather than ring-tones and disco balls.
Geico obviously targets consumers more concerned with meeting their legal insurance obligations cheaply than any other consideration, yet they do not show to this consumer's satisfaction that they can actually do so.
As for the Allstate ads, since you posted this question, they have begun a new campaign with a disreputable-looking character who symbolizes mayhem. The first few ads were confusing and somewhat repugnant, but as the series continues, it grows on the viewer.
The main thing that Allstate has improved upon is that it has highlighted what it offers better than what the competition offers. Unlike Geiko, Allstate is obviously targeting the consumer who wants more comprehensive coverage versus minimal liability, and the new ads to an acceptable job at this.
However, the rule of thumb with advertising of any variety is that the consumer must remember both the ad and what product or service is being offered. Additionally, the consumer must rememberr the ad in a positive light for it to have a positive effect on the bottom line. For example, in the new State Farm ads, the spokesperson constantly interrupts the agents that he is supposedly interviewing and badmouths the competition. He doesn't so much make his case that State Farm has more to offer than the competition, only that more people were (possibly) dumb enough to use them than their competitors. The net effect of those ads is to turn me away from using State Farm, even though I have had positive personal experience with them.
With that in mind, I woiuld suggest that Allstate could have made the unattractive and disreputalbe Mayhem character secondary and put someone more likeable as the spokesperson.
Macbeth is a loyal subject of the king, awarded for his bravery in battle. Once he meets the three witches, and they provide him with the prophecy, he surrenders his ethics, his morality, his honor to ambition, to the pursuit of power.
It is as if the witches awake in him a deeply held secret desire that only they can stir. Being women, they are able to hold sway over him, he is easily influenced and the witches use him as a play thing for their enjoyment.
The same can be said of how he is influenced by his wife. When he tells Lady Macbeth about the witches prophecy and that King Duncan is coming to visit, she begs, pleads and threatens him into believing that he must kill the king. He doesn't want to do it, but she is very convincing, linking his ability to be a man with his ability to kill the king. Linking his love for her with his desire to kill the king.
Lady Macbeth twists Macbeth around her finger, between this woman and the three witches, Macbeth is transformed into believing that he must grasp at this grand opportunity, after all, it is destined, fated to be so.
The witches and Lady Macbeth are partly responsible for the murders that take place in the play.
I confess that I am no expert, but playing Lord Capulet recently (for those not familiar, Lord C. is Juliet's father) with dreams of directing one day, I took a quite some interest in this and other notable lines. My own theory is this:
Juliet's descent to suicide begins with her discovery that Romeo's lips are warm; she has missed him by mere minutes. This is Fate's ultimate blow in a long series of blows. Immediately she hears the watch, signifying the return of life and the world as usual, though without him, but worse, a return to those whose obstinate insistence on perpetuating the feud put them there. I believe her grief turns to rage, something most productions I've seen seem to miss. (Olivia Hussey captures this very well in Zeffirelli's movie.) She would as soon lash out at those whom she sees as the real villains, but lacking that option, she directs the rage in the only direction she can--to herself, intent on punishing them through the discovery of her in death. This is consistent with the nature of suicidality.
Rust is the death of the metal, and an undistinguished one. In her state of mind she may choose to see it as even ignominious. Befriending this instrument of death, she pronounces such a death for herself, thus vicariously, for those she feels truly deserve their own.
I invite any comments on this theory.
(For me, this is unquestionably the most heart-rending line in all of theatre, by which I include print and film.)
Five social problems that can be found in Victor Hugo’s Les Miserables are: 1) The government implements unfair and unjust punishment punishment. For example, Jean Valjean was imprisoned for 19 years for merely stealing a loaf of bread to feed his eight starving nieces and nephews. 2) There exists a lack of legal rights for the bottom rung of society. For example, Fantine is arrested for being a prostitute. 3) The government implements unfair treatment of women. For example, Fantine was fired from working in the factory when it became known that she was caring for her daughter that was born out of wedlock. Of course, being fired led to Fantine becoming a prostitute in order to provide for her daughter. 4) The government mistreats the working class. 5) The government does not care and provide for the poor.
In Act III, scene 3, Mary is mocked and mimicked by Abigail and the other girls. Danforth wants the truth, which Mary tried to give, but she sees that she is slowly sinking on her own without Abigail on her side. She quickly "jumps ship" and claims that Proctor is the evil one who is trying to overthrow the court. So instead of helping Proctor and giving the court the truth of what happened, she quickly changes sides and does whatever it takes to save her self. This selfish act turns the tables on both John and Elizabeth.
Prior to that moment in the courtroom, Danforth wanted Mary to "fake her fainting" if that was what she did before. That's how she explains the way the girls acted before. She was unable to do it. (I'm not sure which section you are questioning).
Well, I'm not sure it really does. There's definitely a strong atmosphere set up, right from the start of the play, which gives a pervasive sense of what Shakespeare wants you to imagine. Here's the atmosphere in a series of quotes from Act 1, Scene 1, usually set up high on the castle battlements:
FRANCISCO
....'tis bitter cold.HORATIO
So frown'd he once when, in an angry parle,
He smote the sledded Polacks on the ice.
...'tis strange.MARCELLUS
...tell me, he that knows,
Why this same strict and most observant watch
So nightly toils the subject of the land,
And why such daily cast of brazen cannon,
And foreign mart for implements of war,
Why such impress of shipwrights, whose sore task
Does not divide the Sunday from the week.
What might be toward, that this sweaty haste
Doth make the night joint-labourer with the day?
It's cold, vast, spooky, impressive - and the noise of preparations for war fills the air day and night. It's a very horror movie sort of atmosphere, I think - very gothic. It certainly affects Hamlet's state of mind: he thinks that Denmark's "a prison", and longs to return to the (much cooler, and much more Protestant) Wittenberg, where he is at university.
But it wouldn't have been seen in the Globe Theatre when it was performed: there would have been no set or setting - no props, flats, lights, and so on. Just an empty space: that "setting" would have been conjured up using words alone. So I'm not sure you could really make an argument that the castle is central to the atmosphere of the play as performed: though it certainly is present within the language of the play.
Hope this helps!
The Cunninghams and the Ewells comprise the two poorest families in Maycomb County. Walter Cunningham demonstrates his family's values by refusing to accept charity when it is offered by their teacher. The Cunningham's attitude is such that they are "poor but proud," meaning that they may have little money, but they refuse to prevail upon others for assistance.
This trait is unlike the Ewells, in that the Ewells are poor and ignorant. Land owners allow the Ewells to poach because they know the family's shabby state, and they are also excused from most of the school year due to their background.
The three most common poetic devices that are presented in this poem are repetition, personification, and alliteration. Repetition is the repeated use of a word or phrase for a certain effect. In this poem, Kipling uses repetition with the word “you” throughout the entire poem to emphasize how important “you” is.
Personification is when a non human thing is given human qualities; there are three examples of personification here. The first is in Stanza 2, when he states,
“…make dreams your master…” (line 9)
The second example of personification also occurs in Stanza 2 when Kipling says,
“If you can meet with triumph and disaster
And treat those two imposters just the same.” (lines 11 – 12)
The final example of personification is in Stanza 3, when Kipling states,
“If you can force your heart and nerve and sinew
To serve your turn long after they are gone” (lines 21 – 22)
Finally, alliteration is the repetition of the consonant sound at the beginning of consecutive words. There are at least two examples of this. The first occurs in stanza 2:
“with wornout tools” (line 16)
And the second example is from stanza 4 and says:
“sixty seconds” (line 30)
Both Laila and Mariam find meaning in each other. Mariam lives childless and feels worthless as result. She finds meaning in her friendship with Laila. She becomes a mother figure to Laila and grandmother to Aziza. She sacrifices herself for these two and it demonstrates her deep love for them. It is interesting that she is such a loving mother as Nana, her own mother was constantly hounding her. However, Mariam realizes that Nana was trying in her own way to protect her.
Laila never really feels loved by her own mother who is more concerned with her dead sons. This is why Laila finds meaning in her relationships with Mariam and Tariq. Mariam shows her the meaning of motherly love and becomes an example of how one should treat their children. Laila recognises the strength of Mariam (who never thought of herself as strong) and uses this to stand up to Rasheed.
When Tariq returns, Mariam sees what it means to be treated with respect by a man. Laila had always known this as her own father had loved her and treated her with respect.
The mascot of the Fire department in "Fahrenheit 451" is the mechanical hound. This "dog" is used for sniffing out offenders and has the ability to kill people who are hiding illegal books. The hound has a needle in its nose and the needle is full of poison.
The mechanical hound begins to take an interest in Montag and when Montag comes to work the hound stalks him and acts like he is going to inject Montag with poison. Montag talks to Captain Beatty about the problem and he promises to fix the hound, but nothing changes. Montag gets very nervous and uncomfortable around the hound. We learn that Montag is indeed hiding books and the hound can detect the fear in Montag.
Alexandra shows us a side of compassion and understanding for the first time in chapter 24. When in the kitchen, she shows compassion for her overworked and under-appreciated brother.
"They're perfectly willing to let him do what they're too afraid to do themselves--it might lose 'em a nickel. They're perfectly willing to let him wreck his health doing what they're afraid to do."
She doesn't always agree with what Atticus says and does, but she does worry about him.
Then Alexandra shows true class to Scout when they have to go back into the room with the ladies. She, Maudie and Scout enter after the bad news, and Scout watches Alexandra and she saw "her head go up as she went through the door." Alexandra could have spread the gossip to this circle of ladies, but instead "looked across the room at [Scout] and smiled" inviting Scout to offer cookies to Mrs. Merriweather.
Scout sees her as a true lady because of her demeanor after hearing such horrible news. Scout says, "After all, if Aunty could be a lady at a time like this, so could I."
In the sixteenth century in England,since no women were allowed in the theatre, young men played the roles of women. It seems odd to us today to imagine the seductive words of Romeo being said to a young man, but the audiences of the Elizabethan age were accustomed to this arrangement;with elaborate and expensive costumes for the actors and with the aid of the English imagination, the compensation was made. In addition, the appreciation for the beauty of the language and the intriguing plots of Shakespeare mitigated many detractions from the less sophisticated theatre.
England, in fact, was the last of the European countries to accept women on stage. In 1629 a visiting company of French players gave performances at Blackfriars employing actresses. However, the women were hissed and "pippin=pelted" from the stage. The English boy actors, often members of the choir at church, were very popular, having been well trained at their schools.
The "shift" that you speak of in "Dulce Et Decorum Est" is in line nine when the speaker exclaims, "Gas! Gas! Quick, boys!--" Before this point the poem is simply a description (although a morose one) of marching in formation to some undisclosed location during World War I. However, as soon as Owen's exclamation rings in, the poem totally changes. The gas, so commonly used during the war, damages no one who got his mask on in time, but others weren't so lucky. Now the description is no longer of marching, but of death and dying. "Watch the white eyes writhing in his face, / His hanging face, like a devil's sick of sin; / If you could hear, at every jolt, the blood / Come gargling from the froth-corrupted lungs, / Obscene as cancer," and, thus, Wilfred Owen makes his readers highly aware of the atrocities of war.
The protagonist of the story is Kira, born deformed in a society that shuns the infirm and the disabled. Thus, the society that usually casts out those like Kira would most likely be considered the antagonist. Kira's neighbors, influenced by the society in which they live, treat her with hostility. The one small boy who takes pity on her is an exception, but for the most part, those who reject Kira, considered as a single entity, are the antagonist--the system that rejects those who are imperfect.
Yes.
Mycophyta and fungi refer to the same group of organisms. These include mushrooms, yeasts, moulds, rusts and the alike. Mycophyta or fungi are a division of simple eukaryotic organisms which lack chlorophyll. They hence have to rely on other organisms for their nutrition. They are unicellular and usually have tubular filaments or hyphae. They can reproduce both sexually as well as asexually. The result of sexual reproduction is a large number of spores which help in the propagation of the species.
As the main characters in fiction are mostly dynamic characters, the reader expects some type of change in Rainford. So, your supposition is correct.
When Zaroff and Rainsford dine the first night after his capture, the general describes the type of hunting in which he engages and seeks the approval of Rainsford as he says, "Surely your experiences in the war--" Horrified, Rainsford stiffly finishes the general's sentence: "DId not make me condone cold-blooded murder..." Later, as he is hunted by Zaroff, Rainsford experiences the "fear of pain and the fear of death" of the animal at bay, a condition he scoffed at when talking with Whitney on the ship before his accident. While hiding in the tree he sees Zaroff leave: "Rainsford's second thought was even more terrible." He knows the fear of the animal at bay.
As the general finishes his after-dinner liqueur, he reflects that Rainsford "hadn't played the game." As Zaroff retires for the night, Rainsford comes from behind the curtains and tells Zaroff, "I am still a beast at bay...Get ready, General Zaroff." Rainsford means for the general to prepare himself to fight as he is ready to kill a man.
After killing Zaroff, Rainsford has "won the game" as the general has told him and will "sleep in this very excellent bed." Since Rainsford sleeps in the bed and enjoys it, he is, therefore, no longer the hunted. He has done what once horrified him. He is changed, for he has killed a man. There is little ambiguity here except that the author does not directly state that R. kills Zaroff.
The blood which is poor in oxygen, flows from the body into the right atrium.
Blood flows through the right atrium into the right ventricle.
The right ventricle pumps the blood to the lungs, where the blood releases waste gases and picks up oxygen.
The newly blood which is now rich in oxygen comes back into the heart and enters the left atrium.
Blood flows through the left atrium into the left ventricle.
The left ventricle pumps the oxygen-rich blood to all parts of the body.
Aunt Alexandra seems to be a woman who talks behind the backs of other people. Francis, Alexandra's son, tells Scout that his mother said,
"Atticus 'let’s you all run wild' and 'now he’s turned into a
nigger-lover. . . .'.
This paints a new picture of Alexandra, who has been trying to seem like see supports her brother. Francis' comments make Atticus seem like a bad father and makes Alexandra seem like a racist. Scout reacts by fighting with Francis. Uncle Jack spanks Scout for fighting. But the real cause of the fight is Alexandra's loose tongue in front of her son and her true attitudes about Atticus' actions.
Marx thought that value is created through the labor of working people. He thought that they should democratically control how that value was created, distributed and what gets made.
He thought this was not just a good idea but that it would be possible, though not inevitable, because it is in the material interests of working people, and because collectively they keep society running they potentially have a lot of power.
He argued against the utopian socialists who thought that socialism should be implemented from above by benevolent leaders. He thought that the transformation of society would have to be carried out by the working class themselves. During this process they would develop a class consciousness which would overcome other divisions, such as racism, religious hatred, the oppression of women and other forms of oppression which split working people.
Today, there are many people who would claim to speak in the tradition of Marx. Indeed even in his time there were many who misrepresented his thoughts such that he was led to proclaim "I am not a Marxist." However despite how the other people have answered this question, he was an internationalist and a revolutionary. He eneded the Communist Manifesto withe the famous slogan: "Workers of the world unite!" That is now written on his grave in London along with another famous quote of his: "Philosophers have tried to interpret the world, the point however is to change it!"
Today I believe that he would still stand by those words. Who can say his ideas are not being vindicated as we watch this major crisis in world capitalism unfold.
There is a new edition of the Communist Manifesto out from Haymarket books which is annotated by Phil Gasper and well worth getting for an engaging study.
To see what some contemporary socialists are saying about what should be done today, it is worth looking at the Socialist Worker website.
Of all the novel's characters, only Nick experienced any personal growth or gained any moral insight as a result of what happened in New York that summer of 1922. By developing his friendship and affection for Gatsby and by living through the experiences that led up to Gatsby's murder, Nick learned more about some of the realities of life than he learned about the bond business. At the conclusion of the novel, Nick left the East; he returned to his Midwest where he believed that people behave in more moral and responsible ways.
When Nick first arrived in the East and became reacquainted with Tom and Daisy, he was drawn into their world of "old money," great wealth and privilege. As both a bystander and a participant, he watched as his new friend Gatsby was destroyed by social forces he could never understand.
Nick came to believe Tom and Daisy and the social class they represented had been corrupted by their money and had lost their human decency:
They were careless people, Tom and Daisy--they smashed up things and creatures and then retreated back into their money or their vast carelessness or whatever it was that kept them together, and let other people clean up the mess they had made . . . .
As a result, Nick went home. He had been made heartsick by the tragedy of Gatsby's life and death, but he had learned some hard lessons about human nature and had solidified his own moral code. Back home in the Midwest, Nick no longer hesitated to make moral judgments about human conduct.
Readers have identified with many themes in the novel, applying them to their own lives in individual ways. Some admire Gatsby for his dedication to his romantic dreams; others feel that Gatsby was foolish, that he wasted his life
The name "planetary nebula" refers only to the round shape that many of these objects show when examined through a small telescope. In reality, these nebulae have little or nothing to do with planets, but are instead huge shells of gas ejected by stars as they near the ends of their lifetimes. Planetary nebulae are formed as low-mass stars, like our Sun, reach the end of their lives and lose their outer layers. The bright source within the nebula is the hot central star, originally the core of the dying star, which will eventually become a white dwarf and cool off over billions of years. When you look at a picture of the Southern Ring Nebula, it's actually the dim star, not the bright one, near the center that created this odd but beautiful nebula.
NGC 3132 is nearly half a light year in diameter, and at a distance of about 2,000 light-years is one of the nearest known planetary nebulae. The gases are expanding away from the central star at a speed of 9 miles per second.
You are right in identifying the river as an incredibly important symbol in this novel. One section that focuses on the river and how it operates in the lives of Jim and Huck is at the beginning of Chapter 19, which describes the peace and tranquillity of their lives together on the river. Note that this is also ironic as later on in this chapter they will pick up the Duke and the King who will disrupt this peacefulness and tranquillity.
In fact, this sums up how the river is used symbolically in the novel. One of the key divisions is the conflict between nature and civilisation. Whilst Huck and Jim are by themselves on the river, they live a wonderful life and are able to live free and happy. When they meet other humans, such as the Duke and the King, Huck is presented with the bad aspects of human civilisation, which is enough to make him want to escape being "sivilised" at the end of the novel and return to nature.
Note how nature and the river is presented at the beginning of Chapter 19:
Two or three days and nights went by; I reckon I might say they swum by, they slid along so quiet and smooth and lovely. Here is the way we put in the time. It was a monstrous big river down there - sometimes a mile and a half wide; we run nights, and laid up and hid daytimes; soon as night was most gone we stopped navigating and tied up - nearly always in the dead water under a tow-head; and then cut young cottonwoods and willows and hid the raft with them. Then we set out the lines. Next we slid into the river and had a swim, so as to freshed up and cool off; then we set down on the sandy bottom where the water was about knee deep, and watched the daylight come. Not a sound anywheres - perfectly still - just like the whole world was asleep, only sometimes the bullfrongs a-cluttering, maybe.
The description continues, and you would do well to read the rest of this section, but what is important to realise is that Jim and Huck are presented as living some kind of Edenic existence - it is just them and Nature, and they live very peacefully and in harmony with their surroundings. This is in sharp contrast to the picture of civilisation that is presented where humans trick each other, kill each other and even the "good" ones practise slavery.
Attean's method, the Indian way of making signs to show their way in the woods, is much more subtle than the method Matt's father uses. Matt recalls that when his father wanted to mark his path through the woods, he would cut blazes on the trees with his knife. Attean, calling this the "white man's way", says that the Indian way is not as obvious. He says that the "Indian maybe not want to show where he go", so the signs he uses are "secret signs".
Attean's method of marking a trail through the woods consists of leaving signs which would be recognized only by individuals who know exactly what they are looking for. As he walks, he pauses every so often, "sometimes to break off a branch that (hangs) in (the) path, once to nudge aside a stone with the toe of his moccasin". Anyone following would not notice the marks Attean has left; "it would take sharp eyes to find them, even if you knew they were there". It takes quite awhile and a good deal of practice for Matt to master this way of assuring that he does not get lost in the thick woods surrounding his cabin, but when he finally is able to do it, he is grateful to Attean for revealing to him "another secret of the forest (Chapter 11).
Addiction is a physical dependency upon a substance, in this case, tobacco. This happens when a person uses tobacco regularly and their body becomes physically dependent upon the substance.
Tolerance is how ones body is able to put up with a substance. When a substance is used for the first time, the effects of that substance are seen after only a small dose of the substance. However, as the substance is used more and more often, the body using it becomes more able to handle the substance. Therefore, it takes more of the substance for the person's body to be affected in the same (or often times, desired) way.
Withdrawal occurs when the person stops using the substance. His/her body has become used to using the substance, and when he/she tries to quit using it, the body goes through a stage of withdrawal since it is used to having a certain amount of the substance.
From the beginning, Scrooge is a stingy old man. It's never stated directly why he is as miserly with his money as he is, but it is somewhat explained in his trip to Christmas Past. He is the son of a strict man who had about as much heart as Scrooge. He was raised in that way, so he is just treating others as he has been treated growing up. As he goes through the past, present, and future trips with the ghosts, he sees himself in a different light. He didn't realize how harsh he had been, and he desperately wants to change. He is given this chance, and with that chance, he completely changes his character. Honestly, most would believe this part to be a fairy tale ending, but with the Christmas spirit involved, it's hopeful for the readers. Perhaps mankind can change from such stinginess to such selflessness. Scrooge then becomes quite close with Tiny Tim and is very giving. I guess it does have a "happily ever after" ending.
In the first section the speaker in the poem is traveling through the countryside during winter. He wants to stop and watch the snow fall, and because the owner of the land is nowhere to be seen, he knows he won't get in trouble for trespassing.
The next few lines mostly focuses on the beauty of the scene, yet he hints that perhaps all is not as perfect and beautiful as it appears with words like "darkest" and "frozen."
"To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year"
Then the horse shakes his harness, which jingles his bells in the silent night air. This jingling contrasts with the silence around the speaker, showing how quiet and serene this area is.
In the last few lines the speaker would like to venture into the woods, but he has obligations or a job to do. So he must be on his way. Again there is mention of "dark and deep" hinting at something darker beyond the beauty here.
The last two lines are famous ones. "And miles to go before I sleep" (repeated). The first line could refer to the journey that he must make while the second could refer to what time he has left in life. This second line ties in the darker images that are hinted at throughout the poem.
Pip is describing the pull he feels for both life at the forge and for life as a gentleman. He has just had a long conversation with Biddy. As he had many times before, he thinks "that Biddy was immeasurably better than Estella". At times like this, Pip thinks that he can be satisfied with life at the forge and should become partners with Joe. He says,"At those times, I would decide conclusively that my disaffection to dear old Joe and the forge, was gone, and that I was growing up in a fair way to be partners with Joe and to keep company with Biddy—"
But then he would remember his time with Estella at Miss Havisham's and he would get confused because he also wanted to become a gentleman to impress Estella. It would take him a long time to shake off those thoughts and return to the idea that he could be happy at the forge. But just when he thought he could be happy at the forge again, his thoughts would be interrupted by by the thought that perhaps Miss Havisham would make him a gentleman once his apprenticeship to Joe was up. So Pip is a torn man. He knows he should be happy with Biddy and life at the forge, but he also longs to be a gentleman and be with Estella and hopes Miss Havisham will make that possible.
The Reeve, according to the General Prologue, is a slender and choleric man, with a very close-shaved beard and hair cut round by his ears:
The REVE was a sclendre colerik man.
His berd was shave as ny as ever he kan;
His heer was by his erys ful round yshorn;
He had long, thin legs like sticks - and you couldn't make out his calves:
Ful longe were his legges, and ful lene,
Ylyk a staf, ther was no calf ysene.
The Reeve knows ("wiste") very well how seed will behave in drought, or in rain, and he knows all about his master's sheep, dairy, swine, horse, stores of grain, and his poultry:
Wel wiste he by the droghte and by the reyn,
The yeldynge of his seed and of his greyn.
His lordes sheep, his neet, his dayerye,
His swyn, his hors, his stoor, and his pultrye...
The Reeve was also very crafty, and he knew every man's secret: and every man was scared of him:
Ther nas baillif, ne hierde, nor oother hyne,
That he ne knew his sleighte and his covyne;
They were adrad of hym as of the deeth.
The Reeve sat on a gray horse called Scot, and carried a rusty sword by his side. He came from Norfolk.
This Reve sat upon a ful good stot,
That was al pomely grey, and highte Scot.
A long surcote of pers upon he hade,
And by his syde he baar a rusty blade.
He's a bitter, choleric crafty character, who can't really be trusted. And there you have him - in Chaucer's own words!
I'm sorry; I read the question as Act 3, Scene 2, but when I posted, it came up as Act 2, Scene 2 . So, this answer is for Act 3, scene 2.
In the opening soliloquy of Juliet, "night" and "black" are repeated, the foreshadowing of death/marriage. Nevertheless, this soliloquy begins the scene in an upbeat manner before e sad news of Tybalt's death and Romeo's banishment. After the Nurse enters wringing her hands, Juliet becomes disturbed as the Nurse says "Ah well-a-day! he's dead!" (l.20). Juliet thinks the she speaks of Romeo: Again this is foreshadowing and an example of the theme of miscommunication in the play. Juliet cries out,
O, break, my heart!.../To prison, eye, ne'er look on liberty!/Vile earth, to earth resign; end motion here;/And thou and romeo press one heavy bier!(ll.32-35)
These lines are also foreshadowing the tomb where Juliet will be placed and future action in the play. Finally, the Nurse says "Tybalt is gone and Romeo banished" and Juliet cries out "O God! did Romeo's hand shed Tybalt's blood?" as she realizes the tremendous implications this act will have upon both the Capulets and the Montagues. Dashed are the hopes of Friar Laurence that the marriage of Romeo and Juliet may bring together these two families. Even Juliet experiences ambivalent feelings for Romeo, first referring to him as "serpent heart, hid with a flowering face!...A damned saint, an honourable villain!"(ll.48,54) But, at last, she defends Romeo reasoning that if he had not killed Tybalt, Tybalt would have killed Romeo.
Extraposition of Subject and Object in English sentences (S/V/O) may occur, and indeed commonly does occur, when a sentence begins with (S), or has as a mid-element (O), a heavy clause, such as a that-clause or a wh-clause (who, what, when, why, etc) or an infinitival clause that is extraposed from the head of the sentence to the back of the sentence, being replaced by the extrapositional "it."
Research references to the extraposition of subject (S) or object (O) are:
Subject and Object Extraposition in English:
corpus Findings and A Constraint-Based Approach
Jong-Bok Kim
Kyung Hee University
http://mercury.hau.ac.kr/kggc/Publications/SIGG/SIGG15/SIGG15202_JBKim.pdf
A student's introduction to English grammar
By Rodney D. Huddleston, Geoffrey K. Pullum (page 212)
http://books.google.com/books?id=qlxDqB4ldx4C&dq=A+student%27s+introduction+to+English+grammar+By+Rodney+D.+Huddleston,+Geoffrey+K.+Pullum&printsec=frontcover&source=bl&ots=WOGIf3csw4&sig=6j2Ph3P2AKyYZ7VQX3zsyMox9E0&hl=en&ei=t3nnSryEOJK3lAe406CACA&sa=X&oi=book_result&ct=result&resnum=1&ved=0CAwQ6AEwAA#v=snippet&q=infinitival&f=false
Additional pages, by Rodney D. Huddleston, Geoffrey K. Pullum:
http://books.google.com/books?id=qlxDqB4ldx4C&dq=A+student%27s+introduction+to+English+grammar+By+Rodney+D.+Huddleston,+Geoffrey+K.+Pullum&printsec=frontcover&source=bl&ots=WOGIf3csw4&sig=6j2Ph3P2AKyYZ7VQX3zsyMox9E0&hl=en&ei=t3nnSryEOJK3lAe406CACA&sa=X&oi=book_result&ct=result&resnum=1&ved=0CAwQ6AEwAA#v=onepage&q=extraposition&f=false
Variations in English Object Extraposition [Subject/Object]
Jong-Bok Kim and Ivan A. Sag
Kyung Hee University and Stanford University
http://lingo.stanford.edu/sag/papers/ks-cls-final.pdf
Obligatory extraposition of the subject or object occurs when the sentence makes little or no sense without extraposing the element to the back of the sentence and replacing the extraposed part with the extrapositional "it." For instance, consider Frits Stuurman's amusing example: "I think [that] John left strange." Are we to envision a peculiar John leaving? In this case extraposition of this Object, with replacement by the extrapositional "it," is obligatory: "I think it strange that John left," (page 268).
Optional transposition of S or O occurs when a sentence logically conveys sense with the heavy clause located in a head, mid- or back location. Look at another of Frits Stuurman's examples: "That John left is strange" becomes the extraposed "It is strange that John left," (page 267).
Research resources for Obligatory/Optional Extrapositions are:
Two grammatical models of Modern English: the old and the new from A to Z
By Frits Stuurma
http://books.google.com/books?id=Qd0OAAAAQAAJ&pg=PA267&lpg=PA267&dq=Extraposition:+obligatory/+optional&source=bl&ots=4pkSWcU3B5&sig=xVSbvm3btGdLrQ4sKu3l0HdOn9g&hl=en&ei=qhPnSu2SG4G6lAf2hL2PCA&sa=X&oi=book_result&ct=result&resnum=1&ved=0CAsQ6AEwAA#v=onepage&q=Extraposition%3A%20obligatory%2F%20optional&f=false
And also again:
Variations in English Object Extraposition [Obligatory/Optional]
Jong-Bok Kim and Ivan A. Sag
Kyung Hee University and Stanford University
http://lingo.stanford.edu/sag/papers/ks-cls-final.pdf
Gurov's transformation takes place after he leaves Anna, when he leaves the vacation resort where he met her. When, at first, he meets Anna, he wants to just have a casual fling with Anna, he does not want to make any permanent attachments, both he and Anna are married to others.
Once back in Moscow, Gurov cannot get Anna out of his mind. His life at home now seems mundane and pointless. He realizes that he is in love with Anna. He was forced to marry his wife. His parents made the match and he had no choice in the matter.
Anna's love for Gurov brings out qualities of goodness in him that he did not know he had. He begins to have romantic notions, very unlike him, he decides to go to St. Petersburg to see Anna.
When he sees her, she is shocked, but she tells him that she will come to Moscow to see him. When Anna arrives, Gurov realizes that he loves her wholly like a husband does his wife. They long to be together. Gurov has discovered a new happiness in life, but is also trapped by his unhappy, lifeless marriage.
This practical unfeeling man is transformed into a hopeless romantic who finds true love and determines to find a way to live openly with his one true love. Gurov's transformation does not end, it continues beyond the last words of the story.
"when she asks him how, he clutches her head, speaking of how he believes that although a rough time is coming up for them, one day in the not too distant future they would be together."
Themes include: the meaning of life, morality, deception and being one with nature. When Gurov finds Anna, it is only then that he truly sees the beauty of the world.
For more details, click on the links below.
The theme of Robert Frost's poem is the destuctive potential of hatred and desire.
In his poem, Frost explores with amazingly eloquent brevity two forces which have the potential to bring destruction to the world. The first of these two is desire, which Frost likens in heat and intensity to fire. The second of the two is hatred, which he likens to ice.
In the poem, Frost examines the question of which of these two elements will ultimately destroy the world. Although he notes that there are avid supporters of both possiblities, the poet himself believes that, in the end, it will be fire, or desire, which will do the job. He closes the poem with an acknowledgement also that, although he did not choose it as being the likely cause of the earth's demise, hatred, or ice, has an equal potential to bring about final destruction.
If by incite you mean an incentive for action, then it would be the fact that Della had been saving and saving for months, and all it amounted to was $1.87, clearly not enough to buy Jim a nice present. At this realization, Della decided that "There was clearly nothing to do but flop down on the shabby little couch and howl." But after this good cry, a light bulb goes off and she "pulled down her hair and let it fall to its full length." She would sell her hair, hair "in which they both took a mighty pride." She does, buys him a chain for his watch, only to discover that Jim sold his watch to buy her a set of hair combs.
What started this chain reaction though was the description of how Della realized she would not have enough money to buy Jim a present that she felt reflected her love for him-this prompted her to action, and incited the rest of the events.
Art Spiegelman titled the opening chapter of his two-volume graphic narrative of his parents' experiences during the Holocaust "The Sheik" because of a story his father, Vladek, tells Art about the former's once-promising youth. Maus is subtitled "A Survivor's Tale" because the author possessed a deep-seated need to know his father's history--his mother had committed suicide—in order to better understand this difficult, aging man with whom Art had endured a strained relationship. Having succeeded in convincing his father to tell his story about his years in German concentration camps for the crime of being Jewish, Art is finally able to hear Vladek’s description of his life dating to the days before the rise of Adolf Hitler and the invasion of Poland. Vladek describes himself as a “young, and really a nice, handsome boy,” who was avidly pursued by many an attractive young woman. Emphasizing his physical attractiveness, Vladek adds, “people always told me I looked just like Rudolph Valentino.”
Rudolph Valentino, a famously good-looking Italian-American actor from the silent film era, starred in a movie titled The Sheik, about a dashing Arab sheik who kidnaps and ferrets away a beautiful British woman who eventually succumbs to his charms. The association of Valentino to the image of a handsome, daring Arab sheik was cemented in American, and European, culture to such a degree that the actor became virtually synonymous with that image. Vladek’s use of that comparison emphasizes both his handsome physical appearance and his attractiveness to members of the opposite sex. As is already evident from the opening pages of Maus, however, Vladek is a cantankerous old man who treats the women in his life poorly, and Spiegelman’s descriptions of his father draw a sharp contrast with the old man’s self-image.
Most of the allusions are biblical in nature. Take for example what Elizabeth says about Abigail's power in the town after the accusations are starting. In act two, Elizabeth states, "Abigail brings the other girls into the court, and where she walks the crowds will part like the sea for Israel." This is referring to Moses, who parted the seas of Israel for the Israelites to escape from the Pharoah's armies. So, it indicates that Abby holds some sort of god-like power of redemption for the town. Another allusion to the bible is when John Proctor is trying to help Mary gather courage to confess to the courts that the girls are faking. In act three he bolsters her saying, "Now remember what the angel Raphael said to the boy Tobias...'Do that which is good, and no harm shall come to thee.'" He refers to that quote to help her to have strength to do what is right. Reverend Hale alludes biblically to Satan, and how "until an hour before the Devil fell, God thought him beautiful in Heaven." He is speaking of how it is possible that Rebecca Nurse could be charged with witchcraft in act two.
Because of the Puritan beliefs that the bible is all, the people were very familiar with its stories and morals, and that is probably why Miller chose to it as the main source of most of the allusions in the play. I hope that helps!
That quote is not actually in the play "Hamlet". The quote was said by Iberius Claudius Caesar Augustus Germanicus. He was the fourth Roman Emperor of the Julio-Claudian dynasty.
King Claudius is a character in Hamlet, but it is not the same person or based on the historical figure of Claudius I. While it may be appropriate to apply the quote to the character of Hamlet, the play and the quote are otherwise unrelated.
Macbeth's immediate reaction is to be entranced before coming to his senses and asking for more information. We hear of Macbeth's first reaction not from Macbeth himself, but from Banquo who seems more annoyed with the witches' pronouncement. Banquo says, "My noble partner / You greet with present grace and great prediction / Of noble having and of royal hope, / That he seems rapt withal" (1.3.54-57). Therefore, Banquo is speaking here as Macbeth stands listening to these events in a sort of trance. As soon as the witches snap Macbeth out of it by a triple dose of "Hail!," Macbeth immediately replies with, "Stay, you imperfect speakers, tell me more: / By Sinel's death I know I am Thane of Glamis; / But how of Cawdor?" (1.3.70-72). This indicates that Macbeth has always had the ambition to be king. Perhaps he stands in a trance at the beginning because the witches guessed his one true desire. Regardless, it is the witches prediction (and Lady Macbeth's later further persuasion) that catapult Macbeth into the very "vaulting ambition" of which the tragic hero of Macbeth is so very famous.
There are approximately 6 million cells per square centimeter of skin. Of course, these cells vary in function. The skin is made up of nerve fibers, pain sensors, blood vessels, sweat glands, and temperature sensors among others. Each of these involves different types of cells, from neurons to blood cells.
The two lead characters in the story are Mary and Patrick Maloney, a married couple who are not very high up the social ladder since they are a single income family with Patrick being the breadwinner and Mary a housewife. They probably live in a middle class neighbourhood since, Patrick works for the Metropolitan police, he is entitled to a number of social benefits such as subsidised accommodation, medical benefits and so forth.
The story's primary focus is Mary. Dahl's physical description of her in her pregnant state with the focus on her mouth and her eyes, accentuates how innocent and harmless she appears. It is the type of mouth one would expect to never utter a vindictive or disgusting word, and eyes which convey innocence and trust, like those of a young child:
Her mouth and her eyes, with their new calm look, seemed larger and darker than before.
There is, however, a slight hint of some malevolence in the description of her eyes as being 'darker than before.' This, up to now, suppressed element of her nature, later shockingly comes to the fore when she murders Patrick, creates an alibi, has the investigators eat the evidence, and then giggles about it.
Mary is clearly a devoted, loving wife, who literally spends more than a fair portion of her day anticipating and preparing for her husband's arrival from work. She obviously dotes on him and has adopted a servile attitude. There is no mention of her having friends or family in the story, so her world naturally revolves around Patrick. He seems to provide meaning to her existence so she most probably is obsessive about him. It is clear that Mary lives quite a mundane life and she has developed an almost monotonous routine in preparing for her husband's daily arrival home. The author makes this quite clear:
When the clock said ten minutes to five, she began to listen, and a few moments later, punctually as always, she heard the car tires on the stones outside, the car door closing, footsteps passing the window, the key turning in the lock.
For her, this was always a wonderful time of day.
it is pertinently clear that she admired Patrick and had great affection for him and she at pains to ensure that he is satisfied, as Dahl illustrates:
... she was satisfied to sit quietly, enjoying his company after the long hours alone in the house. She loved the warmth that came out of him when they were alone together. She loved the shape of his mouth, and she especially liked the way he didn't complain about being tired.
Patrick Maloney's insensitive, abrupt and brusque manner towards Mary's kindness immediately makes him an unlikable character. He is a policeman stationed at the local office and he is clearly not in an affable mood. Mary intimates that he is dissatisfied with his current position when she comments:
"I think it's a shame, ... that when someone's been a policeman as long as you have, he still has to walk around all day long."
Patrick probably sought some kind of promotion which he hasn't received and he has to remain on the beat - a mind-numbing and frustrating position to be in. He is exhausted at the end of the day, for he has had to walk the same area he patrols. He has most probably become exasperated with this routine and the routine at home that he has gone to seek, and found, some excitement.
When Patrick tells Mary about his decision to leave, one assumes that he might have become involved in an extra-marital affair. Mary, like his job, has become too routine, too dull and he wanted out. His offhanded and uncaring manner informs of a cold and heartless individual.
"And I know it's a tough time to be telling you this, but there simply wasn't any other way. Of course, I'll give you money and see that you're taken care of. But there really shouldn't be any problem. I hope not, in any case. It wouldn't be very good for my job."
Patrick clearly cares more about his mundane job than he does about his wife and unborn child. This makes the reader feel that he deserves his come-uppance when Mary retaliates (probably in a moment of temporary insanity) and kills him.
As the above answer stated, Montag is 30 years old. He tells Clarisse he's been a fireman for 10 years, since he was 20. Thematically, this age is significant. While 30 might seem old for students reading Fahrenheit 451, 30 years old is a time of transition with the true end of youth and the entrance into adulthood. This is when people truly start figuring out who they want to be. This is true of Montag.
When Montag meets Clarisse, she throws his life into upheaval. She asks him many questions that challenge everything he has accepted in his youth. She asks him if he ever notices things like the man on the moon and dew on the morning grass and introduces the ideas of talking with others just to talk. But the big question Clarisse asks Montag is, "Are you happy?"
Montag ponders this question the rest of this chapter, but the answer is immediately obvious when Montag enters his home and thinks about his wife. The narrator describes the features of Montag's home as a "cold-marbled room of a masouleum" and a "tomb-world." Then he describes how how Montag imagines his wife "stretched on the bed, uncovered and cold, like a body displayed on the lid of a tomb."
While 30 is a transitory part of life, the questions Clarisse asks Montag continue to haunt him. She inspires him to throw away all he has built for himself and transition away from a life of obedience to a life of rebellion.
Three literary techniques seem inherent in this passage: character development, external conflict, and the use of metaphor.
Characters can be developed in several ways, such as through their words, actions, and inner thoughts. In this passage, Miller develops Abigail's character through what she says. Her words are strong and ominous, threatening. There is the suggestion of violence in them. Abigail is shown here as the dangerous, controlling young woman she is, one who will stop at nothing to achieve what she wants.
There is conflict in the passage, an external conflict between Abigail and the other girls. Although they are consumed with fear and wish to tell the truth, Abigail will not let them. Her will is stronger than theirs, and the witch hunt continues.
Miller's use of language is seen in the passage. He sometimes created his own words and expressions to give the play the flavor of 17th century New England. His expression, "the edge of a word," is an example. It is also a metaphor for any hint whatsoever that would cast doubt upon Abigail, the girls, or their accusations. This shows Abigail's fierce determination to maintain power and personal safety by keeping the truth from coming out
Holden calls his brother D.B. a prostitute because he believes that he is using his talent as a writer inappropriately because instead of writing serious books, he writes scripts for Hollywood. Holden believes that D.B. is a sellout, giving up on the intellectual pursuit that he should have as a writer. Now, he writes purely to make money.
The comparison is made with a prostitute, because he/she works only for money, someone who will do anything for money. Therefore, D.B. in Holden's eyes has become a prostitute because he is willing to write anything for money. It is all about the money for D.B. he has bought a new Jaguar, a fancy, expensive car.
Holden has lost respect for his older brother and now groups him in with all the other adult phonies that populate his life. Holden resents his brother's desire to make money, yet it is in this very area that Holden is a true phony. He has money in his pocket put there by his grandmother, who sends him money four times a year. Holden disrespects his grandmother suggesting that she is crazy because she sends him "birthday money" four times a year.
Holden is sadly lacking in his understanding of adult responsibility, real life, making a living, paying bills, needing to make money to pay bills. Holden, in this regard, is very immature and childish. His resentment towards his brother is misplaced and misinformed.
As a "motivator" (a line or two to interest your reader) for your essay, why not begin with a quote from Patrick Henry or Thomas Paine or Thomas Jefferson, quotes that allude to the lack of freedom of speech, or another part of what would become the U.S. Constitution. This reference will underscore the importance of the Constitution as well as introduce the need for such a document.
Here is one example from Patrick Henry's speech to the Virginia Convention on March 23, 1775:
It is only in this way [of freedom] that we can hope to arrive at truth, and fulfill the great responsibility which we hold to God and our country
You may wish to read Henry's entire speech as well as Paine's pamphlet, "Crisis, No. 1" which contains his famous line, "These are the times that try men's souls." In this work Paine exhorts the citizens to see that hoping that the British will be kind is an empty hope: "The blood of his children will curse his cowardice who shrinks back at a time when a little might have saved the whole..." Paine urges action; the British virtually have them as prisoners in their own homes, he claims. Freedom must be obtained.
Or, read Thomas Jefferson's "A Declaration by the Representatives of the United States of America, in General Congress Assembled" in which Jefferson states,
When, in the course of human events, it becomes necessary for one people to dissolve the political bands which have connected them with another, and to assume among the powers of the earth the separate and equal station to which the laws of nature and of nature's God entitle them, a decent respect to the opinions of mankind requires that they should declare the causes which impel them to the separation....
Book Source: Holt, Rinehart, and Winston Elements of Literature. Vol.1 (2000); 101,108,116.
Krebs is actually encouraged by reading the history of his war. Hemingway writes Krebs
"sat there on the porch reading a book on the war. It was a history and he was reading about all the engagements he had been in. It was the most interesting reading he had ever done. He wished there were more maps. He looked forward with a good feeling to reading all the really good histories when they would come out with good detail maps. Now he was really learning about the war. He had been a good soldier. That made a difference."
Krebs feels better about himself after reading the history for several reasons. First, it's reality to him--if it's in a history book, then it must have really happened, and Krebs graps onto that. Ever since Krebs returned from the war, he lives a rather dreamlike existence. He has no real responsibilities; his parents treat him as if he never went to war and as if he's the same person as he was before he deployed, and he has told so many "lies" about his experience in Europe that his own reality has started to fade. The history book presents him with the undeniable truth of what happened, and this is a sort of grounding for Krebs. This is also why the maps are important to him. If he can see a record of the places he was, it makes it even more realistic that those places do indeed exist.
Secondly, the history book causes Krebs to feel that he has done something worthwhile. After still being treated like a teenager by his parents and not being able to relate to innocent American girls, Krebs starts to doubt that his service was worth all that he has lost (his innocence, peace of mind, meaningful friendships, etc.). No one in his hometown understands him, and even when he runs into other veterans he feels that he is the only one who was scared and who fought/killed out of a sense of self-preservation (see the beginning of the story). As he reads the history book, he realizes that "his" was is important enough for someone to write about and that he had a right to be scared.
Faber makes a comment about Christ in the parlor while reading a forbidden Bible that Montag has given him. Turning the pages, he says,
"It's as good as I remember...Lord, how they've changed it in our 'parlors' these days...Christ is one of the 'family' now...I wonder if God recognizes His own son the way we've dressed him up, or is it dressed him down? He's a regular peppermint stick now, all sugar-crystal and saccharine when he isn't making veiled references to certain commercial products that every worshiper absolutely needs".
Since books, including the Bible, are banned, the only way people know about Christ now is through society-created presentations of him. These are projected through the media into the citizens' homes by way of television broadcasts, enjoyed on big screens in their living rooms, or "parlors". The government-controlled depictions present Christ as a caricature, "sugar-crystal and saccharine", and use him to promote the values of materialism and self-gratification which underlie the whole basis of society. The essence of Christ which can be found in the Bible is unavailable to the people. All they know of the Son of God is the vapid representation of him that is piped on occasion into their parlors (Part 2).
Chaucer is a great humorist; he reveals the scope of humanity by revealing each character by his humour, by the personality that emerges as Nature's elements act on bodily liquids. For instance, vapours from the air affect the blood and gives rise to the sanguine personality--forgetful, needy, and naive; those from fire act on yellow bile (urine), producing the choleric type; impatient, domineering, intolerant; water affects phlegm, giving the phlegmatic: lazy, indecisive, and selfish; vapours of the earth influence black bile (#2), for the melancholic: depressed, antagonistic, paranoid. But each humour also has positive traits: the sanguine inspires, loves, and forgives; the choleric decides, leads, and motivates; the phlegmatic listens, sympathizes, and calms; and the melancholic sacrifices, solves, and commits. As Chaucer unites these individual unbalanced personalities into a work of art, he show the overall beauty and balance of all humanity from a higher POV. Chaucer's art reveals a perfected order mankind cannot see, humanity made in the image of God. Thus, Chaucer reveals himself the great humorist--by each character's humor, he ties each to Nature, to the creative force that opens the poem, and thus to Creation itself--in doing so, perfects man imperfections with the Divine--and no less significantly, with the artistic expression of the Divine--the poem.
In the short story, "The Most Dangerous Game," we read about a world celebrated hunter named Rainsford who falls overboard a ship one night. He manages to swim to shore and meets General Zaroff. In the story we learn that the name of the island is Shiptrap Island. It island is named Shiptrap Island because many ships have been caught in the tide and break up on the reefs. This story is one of mystery and the brutality of one man towards others.
The issues that are dealt with in this film are:
AIDS, the main character, Andrew Beckett, played by Tom Hanks, who won the Oscar for best actor for this role, develops the AIDS virus and as he begins to become sicker and sicker, his company, a law firm fires him.
DISCRIMINATION- Andrew is fired on a false allegation of incompetence. But the real reason is because the law firm does not want him around anymore, they are repulsed by the idea that he is sick with this terrifying disease.
THE AMERICANS WITH DISABILITIES ACT- Andrew files a Civil Lawsuit against his firm for firing him when they found out he had AIDS.
"No covered entity shall discriminate against a qualified individual with a disability because of the disability of such individual in regard to job application procedures, the hiring, advancement, or discharge of employees, employee compensation, job training, and other terms, conditions, and privileges of employment."
HOMOSEXUALITY - Andrew is discovered to be a Gay man and the resulting Homophobia leads to the dismissal as much as the discovery of his deadly disease.
HOMOPHOBIA - Prejudice and fear of homosexual people
This quotation comes at the very end of Chapter 11 when Janie and Tea Cake agree to attend the Sunday School picnic together and, in effect, announce their relationship to the town of Eatonville. Tea Cake's words here are a biblical allusion and basically meant to inform Janie that she holds the keys to his heart and that he is completely head-over-heels in love with her.
This is an important statement for Tea Cake to make as we see the beginnings in this chapter of Janie's somewhat recurring doubts of Tea Cake's love and her apprehensions about engaging in a relationship with someone considerably younger. Janie's fears, of course, ultimately prove to be unfounded, but at this point in the novel Janie is unsure of the wisdom of this path. She ultimately acts based upon her heart and not on her mind.
Mother carried a wrapping-cloth with her wherever she went. She used it to carry the family's important possessions, wrapped up in a bundle tied with a knot. In it were "socks, underwear, extra trousers, and blouses". Placed neatly at the bottom were important papers - "insurance papers, birth certificates, report sheets, and Father's name seal" made of jade (Ch.9).
It was the wrapping-cloth itself that Mother would not let out of her sight. Even when she would go to the restroom to change, she would empty everything out of the cloth and give it all to her older daughter Ko for safekeeping. She would then take the wrapping-cloth in with her. Ko thinks that Mother, being a very modest person, used the wrapping-cloth as a hip-wrapper when she changed, but Yoko thinks there was another reason she took it with her everywhere. Yoko believes it was the cloth and not the things wrapped in it that were important to Mother, because Mother's last words to Yoko before she died were, "Hang on to - the wrapping-cloth" (Ch.8).
Upon close examination, Ko and Yoko discover a pocket sewn into a corner of the wrapping-cloth. In it are "thousand-yen and hundred-yen bills, the money Mother had drawn out of the children's bank accounts before they had to flee their home. There is a total of thirty-six thousand yen - a hundred dollars" (Ch.9).
There are basically 6 elements to a short story:
1. Setting: Time and location of when and where the story takes place. Often significant in understanding the short story. Items to consider: geographical location, historical period, social conditions, mood.
2. Plot: Arrangement of events to develop the author's basic idea. It is the sequence of the story with a beginning, middle, and end.
3. Conflict: essential to plot. Two types: external- struggle with force outside self (man vs man, man vs circumstances, man vs society); internal- struggle within oneself (man vs himself)
4. Character: Antagonist and Protagonist; establishes characteristics of a person. Dynamic- change for better or worse; Static- stereotype, never change
5. Point of View: angle from which the story is told. 1st person told by protagonist, omniscient told by narrator to know what all characters are feeling and thinking etc.
6. Theme: main idea in a story, usually a shared view of the author
One of Orwell's purposes in this essay is to show the cultural dilemma posed by colonialism ( or imperialism, as Orwell puts it). In the essay, Orwell finds himself being the enemy within another culture. The paradox is that Orwell sympathizes with the Burmese people and their desire to overthrow their British oppressors and yet he also hates the people who criticize and abuse him. He has mixed feelings about colonialism and its abuse of power and yet he follows the rules and does what he is supposed to do. Thus, his message is that colonialism is inherently contradictory--just as contradictory as his encounter with the elephant.
Alice Sebold’s intention on writing “The Lovely Bones” was to let the reader know that ordinary human connections are tricky and complicated, but it is exactly these connections that make us human. In today’s society we are losing our ability to build such relationships. The book is set in the 1970s when suburban developments were new. This was a time before media saturation, chain stores, malls, the internet, homogenized places. What it's meant is that everyone's become more detached from other human beings, sitting in their cars or at their computers. This novel is about a vanished place and time and the loss of childhood innocence. Yet, this novel recalls a time when relationships and connections were what made you who you are.
Sebold has been quoted as saying the book is about living an extraordinary ordinary life. In some ways, then, the messages that Susie teaches her family and which readers should take from the novel are that bad things, and they can be shattering, and as Susie says, "Horror on earth is real and it is every day." It never leaves you but, as Susie's father realizes, "You live in the face of it."
As the bombs approach, he is in shock. His first thought is, "This was not to be believed." Then, he thinks immediately of those that he left behind in the city. He thinks of Faber and Mildred, and implores them to "Run!...Get out, get out of there!" He remembers that Clarisse is already gone, and that Faber should hopefully be out of the city, but he imagines Mildred in a room somewhere, watching her t.v. walls, oblivious to what is going to happen to her. He imagines her
"wildly empty face, all by itself in the room, touching nothing, starved and eating of itself,"
and then oddly, he remembers where he had first met her, in Chicago.
After the bombs hit, he lies on the ground, "gasping and crying," and the first part of Ecclesiastes pops back into his head. He repeats it over and over so that he won't forget it, and then shouts against the after-winds, with all of the other men. And then, his thoughts turn to the future, to what they would do next. The men gather and start walking, back to the city, to start again. The book doesn't describe Montag having any specific feelings about his city being bombed, just a desire to start over and create something better out of the ashes.
People have always been fascinated with their image, first visible by looking at one's reflection in water. Later, smooth volcanic rock served this purpose, only a limited quantity (and a rather approximate quality) being availabe. There are even Biblical references to mirrors, one stating that introspection is much like the limited concept of those who "look into a glass darkly" ; another cites the folly of a man who looks at his own face, then walks away, forgetting altogether what he has just seen!
The first man-made mirrors were probably Syrian. A glass bubble was first blown, then used as a mold into which molten metal was then poured. The cooled metal had a relatively slick surface, which could then be polished to a high sheen. As glass-making was perfected, so was mirror-making. The "modern" version: one side of a glass pane is painted with a metallic base, permitting reflection on the other side.
Mirrors serve multiple purposes other than just being able to see one's reflection. They are used by both science and magic, exist in multiple forms (direct, convex and even concave) and have even been incorporated into the ancient art of Feng Shui and some healing rituals. The concept of mirrors has invaded folklore (The wicked queen's number one question in "Snow White?") and psychology. (A concept of critical self-development in infancy is known as "mirroring.")
For more information, see the following references.
The word prejudice naturally holds a negative connotation and most often brings to mind racial or gender bias first. Ironically, though there are racial and gender differences presented between characters, the idea of prejudice is not presented negatively from character to character.
At battle school, it is common knowledge that students in attendance are the best and brightest from around the globe. Naturally this makes them all racially different from one another. Rather than looking at each other with prejudice however, the racial differences are simply set up to characterize differences of attitude and opinion. For example, Bonzo is known for his Spanish pride. Rose the Nose is Jewish, and while the racial slur "Kike" is mentioned, it is not done in an offensive way. Rather, it is almost in jealous praise of the political success of Jews in the context of the story. In the first version of the book there is a scene involving Ender and Alai, joking about slavery. In this scene (which was later removed by the author) the n-word is used. Again, it is done very casually and not at all offensively, almost to point out that the prejudices that may be present in the minds of the audience have faded out in this future version of Earth. Finally, Petra is pointed out as the leading female in the Battle School, and though she is not a boy, she progresses quickly and experiences much success. Her struggles of being a girl are not necessarily outlined, except in the one instance of Bonzo treating her differently from the rest of his army.
On the other hand, the one prejudice that is emphasized in a negative way, is the attitude humans hold for the Buggers. Even the very term "Bugger" is a word of contempt or a slander against someone. In fact, Bugger is not a technical term at all. The aliens are referred to as such because they so closely resemble ants or bees: bugs.
In this way, the lack of prejudice between humans heightens the unified prejudice against the Buggers. It is natural, when you think about it, to attempt to get the entire population to hate the beings which attacked Earth. Because there was no communication with the Buggers, the government had to assume they were only a threat, and seek to destroy them. This doesn't, however, subside the guilt that we, as humans, were killing another living being. By emphasizing the Buggers lack of humanity and their enmity toward humans, it was easier to justify destroying them as a race.
It is one of those lines that are repeated throughout the play. Beckett builds his drama on a subtly repetitive structure of intra-textual referentiality. 'Nothing to be done', is not only the opening line of the play as spoken by Vladimir but it recurs through the play and is repeated by Estragon later. It is used to strengthen the bond between Didi and Gogo, the 'pseudocouple' on the level of speech-event and indicates their unitary figuration in the play.
The point to note is the passive grammatical construction of the line that connects with its thematic and philosophical stress on Man's passivity in a world of divine absence. God, as in Christian terms, is the sole active agent in an otherwise passive world and in his absence, there is very little to do apart from passing the time with the insignificant actions e.g. the hat-routines of Didi nad Gogo, their sterile, unfinished acts of storytelling, discourse in general and so on. 'No-thing' philosophically connects with the Sartrean notion of 'non-being' as well as beckett's own idea taken from Greek antiquity--"Nothing is more real than nothing". It also implies an exhaustion of the logical and ego-enabling process of meaning-making in life. As Deleuze famously said, Beckett's characters 'exhaust the combinatorial'. Vladimir's opening line is located at the dead-end of his life-long rationalist quest for signification. Vlkadimir, as Deleuze would say, cannot even 'possibilitate'. The triviality of human action, as expressed in the line also couples with a self-fantasized waiting for a significance of life, that is never to arrive.
Tempo is the steady pace that moves and grounds the drama and timing is how the elements of the drama struggle to fit themselves into that pace. Some settle right into the tempo(engineers, monotone professors, Mondays, a leaky faucet, stale relationships); some rush it; some drag it or themselves just behind. Some complement the tempo; sychopating themselves by nature or guile, they move in their own time. still others don't fit in. The level of tension between timing and tempo fills the space with energy and personality. Think of Pink Floyd's "Money" or the opening scene of "Ironman," the rolling and bobbing tempo, against the timing--the dialogue, background, movement, volume strain to time themselves to the tempo and create order, tension fills the space until the dramatic moment explodes into its dramatic personality.
One of the best examples of a personality born from the timing variations within the constraints of steady tempo emerges in Henry V's delivery of his response to the Dauphin's present of tennis balls.
For your viewing pleasure, I've attached all three video clips.
Hope this helps,
Patty
I loved this question! If you are writing an essay on this matter, however, be aware of the use of the word "crazy" if you are going to include it in your narrative. In this day and age everything has a politically-correct terminology...DSM IV can definitely help you find her an accurate diagnosis ;) .
But: To answer your question directly- In the years I've taught this story, I have not been able to come to terms with Emily being "crazy."
She is the Faulkner ideal persona of the Old South, itself: The hard-headed, norm-oriented, value-based, old school-ridden individual with a natural inability to accept what has happened: Change.
Surely, the consequences of her thoughts are irrational, criminal, and lead us all to do deem her as "crazy". Yet, if you look at the rationale behind her actions, her "craziness" can actually be labeled under "post traumatic stress" if you want to be real anal about it; the trauma of losing her father, and seeing the world (as she knows it) fade away steadily and leaving her with nothing, and nobody, as support systems.
Concisely- Emily is a traumatized human being who, in her natural state, was borne and raised to be head-strong, value-based, and co-dependent. There is nothing terminally "crazy" about a human being who acts (even if irrationally) in defense of what he or she was made to believe to be reality.
It shows hypocrisy through some of its characters.
1. Bob Ewell. This man is the lowest scum of the earth, who beats his children, is a drunkard, is racist and ignorant, and yet he claims to be better than a decent, hard-working, family-oriented man with total integrity and morals. He gets up on the witness stand like "a little bantam cock" (proud, strutting rooster) and proceeds to claim the moral high-ground on Tom Robinson, all the while lying through his teeth and doing a poor job of covering up his more base qualities. Bob Ewell is a hypocrite at best, and an immoral, evil man at worst.
2. Miss Merriweather is a hypocrite; at the missionary meeting she gets all weepy-eyed and soft-hearted at the thought of the poor Mrunas in their deplorable situation, yet does nothing more than that-put on a show of sympathy. And nearly in the same breath she turns around to bad-mouth the black people in her own neighborhood, people who also have a deplorable situation that she could actually do something about, but instead, she declares to the black people, "you live your way and we'll live ours." She is a hypocrite because she touts righteousness and charity, but does not act on it when situations right in front of her arise.
3. Walter Cunningham and the mob gang. While Walter Cunningham isn't one of the worst characters in the book, he does display hypocrisy as he goes about his everyday business living a moral, upright life, but when it comes down to granting a black man kindness and equal treatment, he goes for the pitchfork. Scout recognizes him in the mob that come for Tom at the jail, and talks to him, which brings a bit of his hypocrisy to the spotlight, and it actually shames him into leaving. So that is a good sign for him; he recognized how ridiculous and hypocritical it must have seemed for him to be riling up a crowd to cause harm to a good man, but to go about his normal life with decency and morals that he was trying to instill in his children.
