Etruscans influenced Romans by spreading the alphabet in all Italic peninsula, linguistically. They have introduced subtracting numerical system, which was typically to latin and etruscan language, person names made from three names, an advanced social system (etruscans women were appreciated, unlike the roman or athenian ones).
Greeks influenced Romans by myths, religion, culture and life style.
Atticus, a very polite, formal man who was a stickler for manners, was never seen without tidy clothing; he was always buttoned, his tie was up tight, and no one had ever seen him any differently, including his children. But in the courtroom, as Atticus is about to give his closing testimony, he does something unusual. He "unbuttoned his vest, unbuttoned his collar, loosened his tie, and took off his coat." Scout says of this that that she "never saw him do [that] before or since, in public or private...he never loosened a scrap of his clothing until he undressed at bedtime." This just emphasizes how important Atticus felt his closing testimony was; he wanted to appear like the other men. He wanted to seem approachable, honest, vulnerable and sincere, and loosening his tie was a way to say to the jury, "Look here. I'm going to be honest with you for a bit. Let's have a chat, just you and me." It made him seem more down-to-earth, and one of the gang. It is an interesting strategy, or maybe just a natural instinct that went in line with Atticus' sincerity in the moment. But, according to Scout, it was highly unusual.
She's a sad character, really, I think. Her actual explanation comes at the very end of the soliloquy, and, like just about everything else in this play to do with love, it focusses on the eye as the receiving window of the heart:
For ere Demetrius look'd on Hermia's eyne,
He hail'd down oaths that he was only mine;
And when this hail some heat from Hermia felt,
So he dissolv'd, and showers of oaths did melt.
What "heat" might Hermia have supplied Demetrius' oaths to melt them? Is it that Hermia made some sort of reciprocation to Demetrius? Or is it simply that Demetrius did love Helena until he then "looked on Hermia's eyne" ("eyne" is the plural of "eye") and then decided that Hermia was prettier? Who knows. But that seems to be what has happened.
Helena also comments that everyone thinks that she's as pretty as Hermia, other than Demetrius
Through Athens I am thought as fair as she.
But what of that? Demetrius thinks not so;
He will not know what all but he do know.
And as he errs, doting on Hermia's eyes,
So I, admiring of his qualities.
He "errs", she says, - makes an error. He's got it wrong. He should be in love with Helena, and he isn't. So on the one hand, she thinks it's a mistake. On the other, it's because Hermia's eye is in some way more powerful than hers.
The bombers create a sense of suspense and also a question of mystery in the novel. It is obvious that the society is involved in some kind of international crisis. However, the people are so concerned with their own happiness and pleasure, that they simply ignore the bombers and wish for 'one more TV wall screen". The presence of the bombers shows how far their pursuit of happiness has gone. They ignore a worldwide crisis which might and does destroy them. After all, to think about a war would make one unhappy.
In Chapter 5 of "Lord of the Flies" Ralph paces along the water and is
overcome with astonishment....understanding the wearisomeness of this life, where every path was an improvisation...
Ralph recognizes the need for someone with experience to guide the boys. As he faces the chief's seat, Ralph decides that he cannot think as well as the adult-looking Piggy who "could go step by step inside that fat head of his, only Piggy was no chief."
Later, during the meeting that Ralph calls to impress upon the boys the urgency of keeping the fire going, he holds the attention of the group as the boys are aware of the missed rescue and fear Ralph's anger. But,he starts to lose their attention as he speaks too long. Only when he again becomes angry does he regain their attention. Jack is subsequently able to wrest this attention away from Ralph by playing upon the boys' fear of "the beast." Ralph realizes that his advantage is lost, at least for the time. He refuses to blow the conch, telling Piggy," If I blow the conch and they don't come, then we've had it...We'll be like animals. We' ll never be rescued." To this Piggy retorts, "If you don't blow, we'll soon be animals anyway."
Without adult supervision, adults who have more experience than Piggy and can think better than he, the boys are incapable of ruling themselves for long, Ralph realizes. At the end of the novel, this poignant realization causes Ralph to weep for the end of youthful innoncence and for the "darkness of man's heart" that triumphed over both Piggy and him.
The Caliphate began as a series of Successors to the Prophet Muhammad. After the first four "Rightly Guided" Caliphs, the Umayyad Dynasty established the Caliphate in Damascus, until the Abbassid Dynasty moved the capitol of the Caliphate to Baghdad. In 1258 the Mongols attacked Baghdad, thus ending this dynasty. This is the main reason for the decline of the Caliphate.
After the conquest of Baghdad, the Caliphate continued under the Mongols in a weakened form. In the succeeding centuries what had once been a unified Islamic Empire was split into three: the Ottoman Empire centered on modern day Turkey, the Safavid Empire centered in modern Iran, and the Mughal Empire in India. The Ottomans claimed to revive and continue the Caliphate until the last Caliph died in 1924.
Bob Ewell resents Judge Tayor (and Atticus) for simply doing the job to investigate the case. Of course, what he's really afraid of is getting found out for having beaten up his own daughter, then blaming Tom Robinson for it.
He also bears a grudge against Link Deas, who has hired Tom Robinson's wife Helen to work for him. Link protects Helen and warns Ewell to not give her any more trouble, or he will find himself arrested on harassment charges.
There are several thematic layers of meaning to this poem. The most obvious meaning is the surface one, the speaker communicating with a butterfly he sees in his sister's garden. From this, Wordsworth concocts several meanings that are based on the themes of Romanticism. The first is that nature can provide levels of meaning to us, as humans. The reverence of nature is seen when Wordsworth connects the flight of the butterfly to an opportunity to engage in reflection about who we are as humans and what we seek to represent. This meaning makes the respect for nature an essential part to how humans should live their lives. Wordsworth sees a connection to nature, and uses it as a portal to his own past and understanding of existence. (See the line when he talks to the butterfly about "talk of sunshine and of song" and "pleasant days.") In addition, Wordsworth strives to develop a meaning of urgency. The second to last stanza discusses the idea of "carpe diem"- seizing the day, the moment right now. The butterfly serves as the "historian" of the speaker's "infancy" and this time for nostalgia, a portal to the past, is passing. This would be why the speaker demands to take this opportunity now, when it presents itself.
It's not a major scene in the play to be honest.
The scene opens with the introduction of "Launcelot Gobbo", Shylock's servant, and one of the play's few comic characters, debating whether to stay working for Shylock or not. At the moment he decides to leave, his dad, Old Gobbo, turns up with a "present" for Shylock.
His father doesn't immediately recognise him, and Launcelot plays a few games with him, before revealing his real identity. And he also gets his father to give his "present" to Bassanio, hoping that Bassanio might allow Launcelot to work for him as a servant when he leaves Shylock. Bassanio agrees immediately.
Bassanio then sends Launcelot to go to his home, and get things ready: as Antonio is coming for dinner. Gratiano enters, and asks if he may accompany Bassanio to Belmont. And again, Bassanio agrees, but asks Gratiano not to joke around too much.
See below for links to Benvolio's character analysis, and a website which gives you every quote Benvolio ever says. If you want a single quote that sums up what Benvolio does in the play, I'd go for this one - actually the first thing he says in the play:
BENVOLIO
Part, fools!He beats down their swords.
Put up your swords. You know not what you do.
Benvolio, never in love or fighting himself, is constantly trying to persuade Mercutio and Romeo to chill out and stop being in love, or stop fighting, or trying to fight. And after Mercutio's death, he just vanishes from the play. He is the traditional peacemaker.
And, incidentally, his name means "Good-wishing" or "well-wishing" (Ben - "good", and volio - "I wish").
Many people think that the first subway in the world was built in New York City. But New York's subway was actually the world's sixth. The world's first subway was built in London, and opened in 1863. It was 3 and 1/4 miles long, and the cars were pulled by locomotives burning coal in the tunnels! London was the only city in the world with a subway until 1891, when a subway line was built in Glasgow, Scotland.
Boston was the first city in the U.S. to build a subway, opening its first line in 1897. New York's first subway was opened in 1904. The earliest subway cars had no windows — the designers didn't think anyone would want to look out a window into a dark tunnel.
"Yorkshire-born civil engineer John Fowler, 45, has worked on most of its extensions, and despite sulfurous fumes from its coke-burning locomotives the steam-powered London Underground carries 9.5 million passengers in its first year; excavated from the surface by a cut-and-cover procedure rather than tunneled, it is roofed with girders or brick arches and will grow to cover 257 miles of track with 278 stations. Work will begin in 1866 on the City of London and Southwark Subway (later the City and South London Railway), using a tunneling shield that minimizes disruption of street traffic."
Section 27 in the poem In Memoriam says that Alfred does not envy those people who doesn't experience hardships in life, people who have their life according to their plans and needs, who always feels comfortable in life and never felt pain, etc because for him it has always been better to felt pain, sorrow, grief,hardships and problems in life. Since without these trials in life, one will never know what happiness is when one doesnt felt pain and sadness, one will never know what comfort is when he doesnt met hardships, one will never feel grief and sorrow when he had never lost a loved one.
So in that perspective, Alfred concluded that " 'Tis better to love and lost than never to have loved at all"...
one has to accept the experiences in life and learn from it for it will enable one to live life to the fullest...
Mildred is a bit baffled, and definitely scared by Montag's behavior of late. He has been questioning her happiness, hiding books in the house, and in the situation you are referring to, he is so angry at the way the world is that he is practically yelling at her. He is questioning everything: his job, their marriage, what happened at the old lady's house the night before. She is fretting, and remarks, "this is the day you go on the early shift...you should've gone two hours ago." When he insists he is sick, she says, "You're not sick," and proceeds to dismiss all of his questions and comments. Of the old lady that burned in her house the night before, Mildred's only comments are "She was nothing to me...she was simple-minded...that is water under the bridge". And the conversation goes like this for a while-Montag being upset about it, Mildred dismissing him like he is a silly child. Then Beatty shows up, and she is worried. She says, "Well now you've done it."
Mildred wants him to go back to work because she wants him to be like he used to be-unquestioning, seemingly happy, not disrupting her life with questions about happiness and life's meaning. If he can just get back to work, then maybe things will be normal again, and normal is the only way that she can function without going over the edge again.
One reason for the change is that because of the mass appeal and coverage of radio and movies, "they became simpler". They had to simplify in order for everyone to get it, to relate to it, and to enjoy it, instead of, like books, appealing to "a few people here, there, everywhere." Eventually, because people were busy and not wanting to take the time to read, every story was condensed to "a one-page digest in a book." That way, everyone could know what the story was about without actually reading it. One result of shortening the books is to shorten everything else down, to quicken its pace also: "School is shortened, disciplined relaxed...languages dropped, English and spelling gradually relaxed...Life is immediate...why learn anything?"
The other way the culture became a "crowd pleaser" is through the editing of content so that no one became offended. Books sometimes offended people, stirred them up, caused unrest and unhappiness, and Beatty says that "we can't have our minorities upset and stirred...People want to be happy." So, shorten things up, monitor the content, and you are supposed to have a content, smoothly operating society, right? Considering the amount of warfare that exists in Montag's society, it seems they might be looking in the wrong places for peace and happiness.
The growth of automobile industry in the US can be linked to a few key changes that took place in America after WWI:
1) Consumer spending -- Soldiers coming home from WWI and families that drastically reduced spending during the war had more disposable income (spare cash) to spend on consumer goods.
2) Government and Big Business -- During the 1920s the Federal government made an effort to help businesses growth through tax breaks and easy credit. Also, the government repealed taxes on wealthy individuals. This gave wealthy individuals more money to spend (see #1) and more money to invest in business.
*Also, mass production (business) made cars affordable for consumers (more income).
*Government builds more infrastructure, like high ways after the war. There are places to drive cars.
3) Modernity -- Socially, the 1920s were a time when many Americans felt that technology made them modern. And technology became desirable, cool, hip, whatever you want to call it. No more horse and carts for the young people of the 1920s! Cars gave them freedom to travel and to get away from extended families.
RECAP
These three areas effect each other and the automobile industry grows because:
1) People can afford cars (disposable income).
2) Business can afford to sell cars cheaper (easy credit/taxes reduced/mass production).
3) Government built roads (infrastructure).
4) People thought cars were cool and enjoyed the freedom to go faster and farther so they wanted to spend their extra cash on cars.
Ray Bradbury is a very poetic writer who uses many different images throughout his novel both as symbols of greater meaning, and as tools to create more descriptive images and scenes. In the opening pages of "Fahrenheit 451," Bradbury describes a scene in which Montag is burning books, with great pleasure and enjoyment. To Montag, these books are merely empty objects--they don't possess any meaning or value whatsoever. However, one of the main themes of Bradbury's writing in this novel is that books DO have meaning, they ARE valuable, and the are incredibly necessary for the world to have thinking, happy, fulfilled people. So, when Bradbury compares the books to birds in phrases like this, "the flapping, pigeon-winged books died," it transforms the books from cold objects to beautifully alive birds, whose death is tragic and disturbing. He uses the bird analogy throughout the entire novel; later, he describes one as a "white pigeon...wings fluttering" and the page as a "snowy feather." In describing the books as such, Bradbury is symbolizing how books are indeed alive, they are precious, beautiful things, and how burning them is as much of a crime as burning living creatures would be.
Besides the symbolic underlay of using birds as books in order represent their value, it is simply poetic. He uses a metaphor, comparing them to birds, and it brings to mind images of fluttering wings, of a great fire filled with the beating of wings. It is a much more descriptive way to paint the scene than just stating "and the books burned." It's good writing.
I hope that those thoughts helped a bit; good luck!
When he is walking in the woods with the devil in the first place, there is no indication that Tom refused the devil right then and there, but rather wanted to ponder it for a while, to see if he wanted to take him up on his offer. The text states that when Old Scratch stated his terms, "They must have been very hard, for Tom required time to think of them, and he was not a man to stick at trifles where money was in view." So, they were hard conditions, and Tom wanted to think about it. He asks for proof of the devil's word, which the devil gives as a permanent finger-mark in Tom's forehead.
It is after he gets home and tells his wife about the incident that we get Tom's initial, flat-out no, and the reason for it was that "However Tom might have felt disposed to sell himself to the devil, he was determined not to do so to oblige his wife; so he flatly refused out of the mere spirit of contradiction." He refuses, just because his wife wants him to say yes. They have a contentious and bitter relationship, and she really, really wants the money the devil is offering. So, just to spite her, Tom refuses. Kind-of a funny and silly reason, but it fits their relationship. Eventually, after his wife is out of the picture, he does accept the deal, and lives the rest of his life-and afterlife-with Old Scratch.
The fear and superstition about the Radley home, specifically about Boo Radley's presence, live primarily in the imaginations of the children of Maycomb, although some of the adults (certainly not Atticus or Miss Maudie) also gossip about Boo Radley. According to town lore, Boo is a window peeker responsible for any "stealthy small crimes committed in Maycomb," as well as for natural misfortunes. If their flowers freeze, it is Boo's breath that has done them in. Scout recalls that "A Negro would not pass the Radley Place at night, he would cut across to the sidewalk opposite and whistle as he walked."
For the children, especially, the Radley place is one of mystery and danger, wherein lurks the terrifying Boo Radley. One example of this general belief is Scout's pointing out that the Radley backyard met the school playground. The pecans from the Radley trees that fell into the schoolyard were untouched because "Radley pecans would kill you." Any ball that was accidentally hit over the Radley fence was a "lost ball." No one was expected to go after it. Jem's description of Boo Radley sums up well what a fearful creature he is for the children of Maycomb:
Boo was about six-and-a-half feet tall, judging from his tracks; he dined on raw squirrels and any cats he could catch, that's why his hands were bloodstained . . . There was a long jagged scar that ran across his face; what teeth he had were yellow and rotten; his eyes popped, and he drooled most of the time.
Over 100 countries were involved in the First World War; many were colonies of the European combatants. Involvement ranged from a country declaring war right as the war was about to end, to mobilizing millions of soldiers to fight on its own territory. No matter what the involvement, no country on Earth escaped the economic and political dislocations the war created. See a complete list of combatants at the link:
Interesting question! You could say it more resembles the complementary strand, with a major difference. When mRNA is formed, DNA first "unzips"; the DNA is a two sided chain of nucleic acids. There are four types of nucleic acids in DNA, arranged in a long chain. Adenine always pairs with thymine, and cytosine with guanine. So when the mRNA forms from one side of the DNA molecule, it essentially looks like the other strand of DNA because the other part of the A/T, or C/G pair will line up with what is on the DNA strand. There is a key difference, though--instead of thymine, mRNA has a different nucleic acid, uracil. So except for the substitution of uracil for thymine on the mRNA molecule, it looks just like the side of the DNA that was not copied.
Junior's grandmother's name is given only as "Grandmother Spirit" in the book. I don't believe her first name is ever mentioned. Junior speaks about his grandmother at length in two places in the narrative, and he addresses her only as "Grandma" or "my grandmother" (Chapters 9, 22, and 23).
When Junior's grandmother dies, a heretofore unknown anthropologist attends her wake. He has what he describes as a genuine Indian dance outfit, and says he has come to return it to its rightful owner, "Grandmother Spirit". Junior's mother identifies herself to him as "Grandmother Spirit's only daughter", and tells him that he must be mistaken. Grandmother Spirit was never a powwow dancer, and the outfit itself turns out not to belong to the Spokane tribe at all (Chapter 23).
Junior is very close to Grandmother Spirit, and has great respect for her. When he is at a loss as to how to respond to the treatment he is receiving at the white school he has chosen to attend, he goes to her for advice (Chapter 9), and he admires her especially because of all the people he has ever known, she is the most tolerant. In life, she accepted everyone as equal, even "weird people". On her deathbed, her dying wish is that the drunk driver that hit her be forgiven (Chapter 22). Grandmother Spirit very clearly had an enormous impact on Junior Spirit's life.
“Wait a minute though! Where does the pig-run go to?”
“The mountain,” said Jack, “I told you.” He sneered. “Don’t you want to go to the mountain?”
Ralph sighed, sensing the rising antagonism, understanding that this was how Jack felt as soon as he ceased to lead.
There's the bit of the novel you need. Ralph is sensing the "rising antagonism" - that is, Jack's growing unwillingness for Ralph to be chief, and Jack's growing desire to lead himself. "... this was how Jack felt as soon as he ceased to lead". It's an early indicator from Golding that Jack not only resents Ralph, but already has thoughts of being in charge himself. And though Ralph recognises it, he doesn't act decisively enough to prevent the inevitable: Jack challenging his authority on the island.
IPDE Process employs an acronym standing for Identify Predict Decide Execute and is a process for safe driving strategies.
The first step is to identify conditions and situations around you and your car. You look for specific clues that alert you possible trouble, like a pedestrian approaching a corner, a child with a ball, a car parking alongside the curb on your side of the road. You also look for other users on the road and those who are turning on or turning off the roadway; roadway features and conditions like a speed change, a school, crosswalks, potholes, repair crews, etc; Traffic Controls like yield signs, curve ahead signs, slow traffic signs; the condition of your vehicle, like windshield, tires, engine, gas tank.
Next you predict actions others may take like braking for slowed traffic ahead or for an upcoming turn; how responsive the control of your vehicle may be, like on a patch of road undergoing repair; and the consequences of your own actions, like lane changes or unexpected braking.
After predicting, you then decide your course of action about speed changes; directional changes; traffic communication (horns serve a communication-safety purpose).
Then you execute your decision with all due caution. You may accelerate, brake (using warning brake light flashes when advisable), steer, communicate, or combine actions for safe and successful driving.
IPDE Process
I -Identify. This is when you look for
specific clues
other roadway users
roadway features and conditions
Traffic Controls
Condition of your vehicleP -Predit. This is when predict
actions of others
control of your vehicle
consequences of your actionsD -Decide. This is when you decide to
change speed
change drection
communicateE -Execute. This is when you
accelerate
brake
steer
communicate
combind actions
In Chapter 4, Jem and Scout argue about Jem's retrieving their tire from the Radley yard. Jem gets the tire, pretending not to be afraid, and shortly thereafter announces that they will now play another game, "Something new, something different." He calls the new game "Boo Radley." Scout thinks he made up the game to prove that "he wasn't afraid of Radleys in any shape or form."
In Jem's game, the children staged a little play born of the gossip they had heard about Boo and his family and their own vivid imaginations. Scout was Mrs. Radley, Dill was Old Mr. Radley, and Jem played the role of Boo. As the summer wore on, they "polished and perfected it." Looking back, Scout the narrator recalls it was "a melancholy little drama."
Atticus interrupts them playing their game one day, wanting to know if it had anything to do with the Radley family. Jem denies it, knowing his father would disapprove. After Atticus goes into the house, some discussion ensues among the children about continuing to play. Jem thinks they might, since Atticus might not know what they actually were doing and had not forbidden their playing. Scout disagrees, vehemently. She wanted to quit the game anyway, based on what she had heard when she had rolled into the Radley's yard inside the tire.
Nick and Jordan meet for the last time in Chapter 9. It is clear that Jordan has not changed since Gatsby's death and she makes a joke about Nick's comment a bad driver is safe until she meets another bad driver.By that time Nick has already decided that Tom and Daisy are "careless people" and "left other people to clean up the mess that they had made." Jordan's comment indicates that she, too, is still part of the lifestyle to which Tom and Daisy belong. Nick is now 30 years old and says that that age is too old to still be playing games and "call it honor". He decides that her lifestyle, and that of Tom and Daisy, is not what he wants and he soon leave to go back home to the Midwest.
Scout is starting the third grade. She and Jem still go by the Radley place, but she realizes that it no longer holds the same kind of fear that it once did. The trial has ended and Tom Robinson was convicted. The two children are still trying to come to terms with what happened at the trial.
When Scout's teacher, Miss. Gates, starts talking to the class about Hitler, she tells the class about the horrible things he is doing. She goes on to say how horrible it was what Hitler was doing. Scout has a hard time with what Miss. Gates is saying. She thinks she is being a hypocrite. After the trial she heard Miss. Gates saying that it was about time someone did something about about the blacks in town and someone needed to teach them a lesson. Scout tries to ask Jem about this, but Jem explodes at Scout and tells her not to mention the trial to him again. She asks Atticus why Jem is acting this way, and Atticus explains the Scout that Jem is still upset with the outcome of the trial. He just needs time to come to terms with what happened at the trial.
1. After hustling a couple of Texans out of $25 while shooting pool at Charlie's Bar, Bryon and Mark are cornered on a dark street by their unhappy opponents. They have a handgun, and things look desperate for the two teens.
Just at that moment, somebody stepped into the other end of the alley and a voice said, "Drop the gun and freeze--I got a sawed-off shtgun here and I'd hate to scatter dirt all over this nice clean alley."
It was Charlie. I never thought I'd be so glad to see anyone.
2. Bryon and Cathy finally find M&M at the hippie house, where he has been tripping for several days.
"I went to my stomach," M&M said in a high, unnatural voice. He was talking too fast. "I went down into my stomach and all these spiders come out. I never knew there were spiders in my stomach. I was there ten years, and all that time these spiders kept chewing on me. They were big spiders."
"...I kept trying to get back, but the spiders held me down. Held me down and chewed on me and the colors went in and out. I listened to the colors and they were screaming too. Red and yellow screamed loudest. The spiders were eating them too."
3. After finding Mark's drugs, Bryon calls the police. Mark returns home, but instead of beating a hasty retreat, he quietly waits for the police to come.
Then a cop said, "Let's go, kid," and it seemed to dawn on Mark what was happening. He looked quickly from the cops to me and cried, "My God, Bryon, you're not gonna let them take me to jail?"
Didn't he know I had just put him there? The cop jerked Mark around and shoved him out the door. Suddenly it was deadly quiet--just the distant siren and Mom's quiet sobbing.
I went into the bathrom and threw up. I was sick.
4. When Bryon finally meets up with Mark in the reformatory, the reunion does not unite the two boys in friendship.
"We were like brothers," I said, desperate. "You were my best friend--"
He laughed then, and his eyes were the golden, hard, flat eyes of a jungle animal. "Like a friend once said to me, 'That was then, this is now.' "
I broke out in a sweat and was suddenly glad of the walls and the guards and the bars. I think if he could have, Mark would have killed me.
The rising action is the point in which the complications are added to the conflict which is originally brought about in the exposition. In the case of a Shakespeare play, the rising action is usually all of the events that take place in Act 2. In "Romeo and Juliet", it is the events in Act 2 from the balcony scene to the Nurse's search for Romeo's response to Juliet's proposal to the marriage of the two at the end of the act that makes up the rising action. The climax then occurs in Act 3.
The conflicts portrayed in The Absolutely True Diary of a Part-Time Indian by Sherman Alexie are of two types, those within the Native American community and those in which the Native American community comes into conflict with the white community. The protagonist, Junior, is involved in both of these communities.
The first major conflict for Junior and many of the other Native American characters in the story is that of the degree to which they should remain within the reservation and its culture or whether they need to interact with the surrounding white culture. For those who choose to leave the reservation for school or career, they must balance the type of cultural assimilation necessary for success in the outside world with trying to hold on to their own traditions and values.
Junior struggles for acceptance among his peers, wanting to avoid the violence and alcoholism the plague the reservation, but also not wanting to assimilate to the unthinking prejudices of the white children.
Firstly, the irony lies in the fact that Lord and Lady Capulet both believe that their daughter has died whilst we, the audience, know that she is only in a state of unconsciousness - a sleep so deep that she seems dead. She had imbibed a potion given to her by Friar Laurence as part of their plan for her to be with Romeo, who was to fetch her later from the family burial-vault after she had been interred.
Furthermore, Lord Capulet's assertion that death has now become his son-in-law adds to the irony, for the reason expressed above.
Further irony lies in the fact that Lord Capulet, addressing Paris says:
"... the day before thy wedding day
Hath Death lain with thy wife."
The audience knows that Romeo and Juliet had already been married in Friar Laurence's cell and Juliet could therefore not be Paris' wife. Nor could she become his, since she is already betrothed.
More irony lies in the fact that Lord and Lady Capulet's grief at this particular moment is not warranted, but they will experience even greater (and truer) grief at the end when they discover the true tragedy of their daughter's demise: that she had killed herself because of Romeo's death, but more, that she was lead to these actions because of the strife between the houses Montague and Capulet, something for which they were responsible. In this sense then, they were indirectly responsible for her death - in that lies the greatest irony.
Macbeth is delighted and can't wait to tell his wife, whom he refers to as his "dearest partner of greatness." He believes the prophecy will come true. He believes that he is destined to become king, and he needs to help make that come true. That would be his view of the world. We must take what is rightfully ours. His ambition is clear.
Lady Macbeth is going to provoke her husband to take what is his as well. She along with the witches will continue to egg him on. She has the same ambition for greatness--although at this point she goes beyond how Macbeth feels. Eventually, they will switch roles and the guilt will eat away at her.
In the Elizabethan age there was a renewed interest in the supernatural and people blamed unexplainable events such as the Plague upon the work of witches, especially what was termed "black witches." Such "black witches" were the three in "Macbeth." Their purpose is to create evil and manipulate human beings in order to create havoc and harm.
In "Macbeth" Shakespeare employs the witches for several reasons. Opening the play with the thunder, darkness, and three witches stirring a cauldron creates great dramatic effect, attracting the attention of the superstitous audience. In addition, Shakespeare sets the tone for the play by using the light vs. darkness and evil; he also presents the motif of moral choices and religious ideas. The use of the witches is effective with a character of such cupidity as Macbeth who succumbs easily to their seductive evil influence. Unlike Banquo who is cautious in believing the witches
...But 'tis strange:/And oftentimes, to win us to our harm,/The instruments of darkness tell us truths,/Win us with honest trifles, to betray 's/In deepest consequence (I, iii,122-126).
Macbeth succumbs to the charm of political advancement:
If chance will have me King, why,/chance may crown me,/Without my stir (I.iii.144-146).
Another use of the witches and supernatural is in Shakespeare's motif of appearance vs. reality which runs throughout the play. One such example is in the vision of the dagger. Is it a hallucination of Macbeth's or a vision sent by the witches? At any rate, the supernatural controls the character of Macbeth and this is the purpose of the three witches.
It's the conch.
“What’s that?”
Ralph had stopped smiling and was pointing into the lagoon. Something creamy lay among the ferny weeds.
“A stone.”
“No. A shell.’ ’ Suddenly Piggy was a-bubble with decorous excitement.
“S’right. It’s a shell! I seen one like that before. On someone’s back wall. A conch he called it. He used to blow it and then his mum would come. It’s ever so valuable—”
The key point is that it is Piggy who knows what it is called, and Piggy who knows how to use it. It's also Piggy who suggests using it to call the others together:
Ralph looked up.
“We can use this to call the others. Have a meeting. They’ll come when they hear us—” [said Piggy].
He beamed at Ralph.
Just like it appears as a symbol, though Ralph agrees, it is Piggy who really represents the conch: he is the one, right from the start, who makes it what it is. And when he dies, it shatters into a thousand pieces "and ceased to exist".
Hope it helps!
In Chapter 26 of "To Kill a Mockingbird", Miss Gates, Scout's third grade teacher, gives a lesson on current events. Miss Gates discusses how the Jews have suffered under Adolf Hitler. Scout begins to see how the Jew's experiences and those of Blacks in Maycomb are similar. Then Scout remember that Miss Gates said said that someone should teach Blacks" a lesson, and how they were getting way above themselves, and the next thing they will think they can marry us.” Scout asks her brother about the remark and Jem says he never wants to hear about what happened at the courthouse again. Atticus explains that Jem thinks he can forget about the trial but he will actually store up the memories and think about them later.
There may be...Grete is unable to play the violin freely and beautifully until after Gregor is no longer the sole breadwinner of the family. For some reason, her playing was suppressed and forced.
After Gregor becomes an insect, he is free of the oppression of the working world. However, he now is imprisoned not only in his new body making it nearly impossible for him to eat as he once did, but also in his room since his family can't stand to look at him. He complete alienation "frees" the rest of the family from their invisible bonds...they actually get jobs, become productive, and live normal lives.
It is rather like a Phoenix...out of the ashes of Gregor's death come the new and shiny versions of his mother, father, and sister. Why they couldn't be this way before, saving Gregor the pain and suffering of being an outcast and dying a horrible death remains an unanswered question. Perhaps, like Jesus, his ultimate sacrifice was needed to save the rest of the family from themselves.
The absolute best place to find information about East Egg and West Egg is in the very first chapter of The Great Gatsby where the narrator (Nick Carraway) describes both places in great detail. First, Nick gives the geographic location of East Egg and West Egg which are both located on Long Island, New York. "It was on that slender riotous island which extends itself due east of New York—and where there are, among other natural curiosities, two unusual formations of land" (4). Next, Nick speaks of the East Egg and West Egg in regards to their similarities and differences:
Twenty miles from the city a pair of enormous eggs, identical in contour and separated only by a courtesy bay, jut out onto the most domesticate body of salt water in the Western hemisphere, the great wet barnyard of Long Island Sound. They are not perfect ovals--like the egg in the Columbus story, they are both crushed and flat at the contact end--but their physical resemblance must be a source of perpetual confusion to the gulls that fly overhead. To the wingless a more arresting phenomenon is their dissimilarity in every particular except shape and size (5).
Nick then describes, in detail, the specific differences between the two. Nick deals with West Egg first because that is where he lives. "I lived at West Egg, the--well, the less fashionable of the two, though this is a most superficial tag to express the bizarre and not a little sinister contrast between them" (5). Then he deals with the area that perplexes him the most: East Egg. "Across the courtesy bay the white palaces of fashionable East Egg glittered along the water, and the history of the summer really begins on the evening I drove over there to have dinner with the Tom Buchanans" (5).
In other words, the filthy rich live in the two Eggs. However, there is a big difference between them: East Egg holds the "old rich" who have always known money while West Egg holds the "new rich" who have only recently acquired wealth. East Egg and West Egg are nicely foiled by the Valley of the Ashes, which is described succinctly in the second chapter.
Huck and Tom decide to transport the rope ladder in a homeade pie. So, they had to figure out how to make a pie, that was just a crust, in order to stuff the rope ladder into it. Huck writes that "we didn't want nothing but a crust and we couldn't prop it up right, and she would always cave in." He said that they "had no end of trouble with that pie" and that it took them a couple days, and "three washpans full of flour" before they got it right. They finally figured out that they would have to cook the rope in the crust beforehand to get it to work. THe problem was that the entire rope ladder wouldn't fit, so they just cut it and put a tiny portion in. Pretty useless, but, most of the ridiculous endeavors that they go through to "rescue" Jim are; they are more about the novelty, the adventure, and the thrill than actually being practical in helping Jim.
To answer your first question, the last names of Benvolio, Mercutio, and Paris are never mentioned. We do know, however, what families the three men are from. Benvolio is Romeo's cousin, therefore he is a Montague. Mercutio and Paris are both relatives of Prince Escalus so although their last names are never alluded to, you do know that they are related to the rulers of Verona. As for their ages, we also do not get that information -- except for that of Juliet. After a conversation between the Nurse and Lady Capulet, the reader finds out that Juliet is almost 14 years old; however, the ages of the other characters, including Romeo are not given. It is generally assumed that Romeo is in his late teens.
Macbeth has gambled with fate, and lost. He played the game of the prophecies, believed that they would come true, and put his neck on the line. He is left with nothing, as he outlines in Act 5, no "troops of friends", no "honour", no "love". Life has lost its meaning.
Moreover, nothing can horrify him any more - he has become numb to suffering and fear:
I have supp'd full with horrors;
Direness, familiar to my slaughterous thoughts,
Cannot once start me.
Macbeth is trapped in his castle, waiting for death to come to him. He has no fight left - but he knows he is going to be forced to fight:
They have tied me to a stake; I cannot fly,
But bear-like I must fight the course.
All he believes is the prophecies - they are the only truth left, now that his wife and all of his honour are gone. It's a very nihilistic world. And then, at the last, he renounces the witches too:
And be these juggling fiends no more believed,
That palter with us in a double sense...
All that's left for him in the world is death.
Your question is a little vague because Winston couldn't react to the note before he read it :) I think you are really asking about how the note changed him. Before he read the note, Winston didn't have a relational life. He was a wreck, lived in a hovel (by our standards, at least), did his mind numbing work, drank his Victory Gin, and started over the next day.
After he read the note, he had something/one to live for. He begins arranging "accidental" meetings with Julia, planning his life around her and their meetings in the upstairs room. Of course, all of this is done under the watchful eye of the Inner Party and will come to naught, but for a brief time, Winston has someone he cares about and it totally changes his life.
Hemoglobin is made of three components: hemo, alpha (or alpha-like) globin, and beta (or beta-like) globin.
Changes in globin production (more or less than normal) can cause mutations in alpha or beta globin gene, these changes leading to one type of thalassemia, which is a quantitative hemoglobin disease.
Another blood disorder, caused by a mutation in the HBB gene is sickle cell anemia, where the cells have the C-shape. Cells' flexibility is reduced by the process of sickling and the risk of developing complications is growing. This kind of blood disorder could be found in regions where malaria occurs. In C-shape cells malaria parasite could be destroyed before emerging the daughter parasite.
Finding flaws in Beowulf is not an easy task. As an epic hero, he stands as the archetype of the early Germanic/pagan Anglo-Saxon warrior, and he also devoutly embraces Christianity. Beowulf depends upon God's help in waging battle to defeat evil and frequently gives God the credit for his success. He is humble before God.
As for character flaws, perhaps boasting might be considered a flaw. Beowulf's confidence in himself sometimes appears to others as a kind of pride or cockiness. This is seen in Beowulf's relationship with other characters, including Ecglaf and Unferth.
Even at the end of his life, as an old king, Beowulf maintains his self-assurance: "I have never known fear, as a youth I fought / In endless battles." Beowulf continues that even though he is old, he will fight once more "If the dragon hiding in his tower dares / To face me.
The author, Jack London, does not spend much time describing the Yeehats directly. Essentially, they are the tribe of Indians that massacred the group of goldminers of which John Thornton was a part. Buck is first aware of the presence of the Yeehats when he senses a "new stir in the land" bringing "a sense of calamity". He first sets eyes on the tribe when they are "dancing about the wreckage of the sprucebough lodge" of the miners, celebrating their victory over the encroaching white men.
The Yeehats are portrayed as primitive. Despite their fierceness, they are "no match at all" for the fury of the wild creature Buck has become, despite "their arrows and spears and clubs". They are elemental, a counterpart to nature in its most basic state, and their power cannot stand up to the raw, imposing strength of the wild. To the Yeehats, Buck and the natural world he represents are fearful entities beyond their understanding. They tell tales of a "Ghost Dog...(which) has cunning greater than they, stealing from their camps in fierce winters, robbing their traps, slaying their dogs, and defying their bravest hunters". The Yeehats are representative of man, who lives, when all is said and done, at the mercy of nature. Buck, as a creature who has abandoned himself to nature's ways, is the stuff of legend to them, beyond their comprehension (Chapter 7).
"It is quite warm for the time of the year," said Framton; "but has that window got anything to do with the tragedy?" (Saki)
The open window becomes a symbol or representation of the tragedy. The open window is compared to a memorial to the supposed dead hunting party. Even though Saki does not make this explicit comparison, Vera makes it clear that the window remains open because of the tragedy.
The simple open window is transformed into a ghoulish door between life and death. Vera's look of horror creates the metaphor, without any words necessary.
"The child was staring out through the open window with a dazed horror in her eyes. In a chill shock of nameless fear Framton swung round in his seat and looked in the same direction." (Saki)
In "Good Country People," the character known as Joy who changes her name to Hulga does so to reflect both her physical appearance and as a reflection of her soul. Hulga has a wooden leg, she is very detached from life, feels ugly and believes in nothing. She has no faith, not in God, not in man, and not in herself to be happy.
Hulga actually believes in viewing the world through negative eyes. Outwardly hostile to her mother, Hulga has gotten a PHD to set herself apart from others with the belief that she knows about life from having read the great philosophers.
Joy believes that by changing her name to Hulga, she is being more honest with herself. The brutal truth, stripped bare is what Hulga wants, she does not want to sugarcoat her life. It is what it is, she has a wooden leg and believes that her life will be limited and lonely.
"Indeed, she wants to make herself as unpleasant as possible, stomping about and being rude to everyone. She resents her mother not only because of her mother’s simplistic view of life but also because her mother does not accept her for who she is. “If you want me, here I am—LIKE I AM,” Hulga defiantly tells her."
In Chapter One of "The Heart of Darkness" , the narrator refers to he Chapman Lighthouse as "a three-legged thing erect on a mud flat, shone strongly". This lighthouse actually existed at the end of the Thames River. It was demolished in 1957 because it falling apart. As one of the last things a sailor could see when leaving the river, it's light represents the light of civilization. However, in context, the fact that the lighthouse is built on mud-flats reinforces Marlow's next statement that “And this also...has been one of the dark places of the earth.” Conrad is beginning his symbolic contrast between light and darkness, civilization and savagery that will continue throughout the novel.
The processional entrance of the animals hints at the hiearchy which is to follow. The dogs first march in, escorting the pigs following close behind:
At one end of the big barn, on a sort of raised platform, Major was already ensconced on his bed of straw, under a lantern which hung from a beam. He was twelve years old and had lately grown rather stout, but he was still a majestic-looking pig, with a wise and benevolent appearance in spite of the fact that his tuskes had never been cut. Before long the other animals began to arrive and make themselves comfortable after their different fashions. First came the three dogs, Bluebell, Jessie, and Pitcher, and then the pigs who settled down in the straw immediately in front of the platform. The hens perched themselves on the window-sills, the pigeons fluttered up to the rafters, the sheep and cows lay down behind the pigs and began to chew the cud. The two cart-horses, Boxer and Clover, came in together, walking very slowly and setting down their vast hairy hoofs with great care lest there should be some small animal concealed in the straw....
The sheep and cows have secondary roles and the chickens and pigeons take their place among the rafters. When Clover the mare settles down next to her mate Boxer, she protects a brood a ducklings from her heavy hoof. Mollie the pony comes in fashionably late, evidently wanting to be noticed. The cat saunters in late too, looking for the most comfortable niche she can find. Moses the raven is not mentioned at all.
The scene with its pastoral charm portrays the farm animals united under duress, and a certain harmony and cohesion of the group is already evident. Old Major distinguishes himself as the leader, but it is also mentioned that Napoleon, an impressive pig simply because of his massive statue, is the only Berkshire boar on the farm. (Therefore, he is not of the offspring of Old Major but 'something else'!) Moreover, the authoritative roles of the pigs and dogs is also present and forebodes trouble to come.
On the simplest level, John must learn to read to carry the plot forward. He could have learned to read through almost any text, so it's interesting to note that Huxley chose Shakespeare. Shakespeare presents a wide range of human emotions, most of which are either surpressed or treated as evil in BNW. Huxley wants to contrast the two cultures; just importing someone from the Reservation would not have provided him with the opportunity, so he created a Savage that could read Shakespeare and, though reading, understand the emotions contained therein. It's a bit of a stretch, but so is the rest of the book if you treat it as literal.
It might be interesting for you to check out the books that Mond keeps ... these also must be there for the discussion to develop.
Taken in the context in which this quote appears in the text, I would totally agree with this statement. Mr. Braithwaite, frustrated and angry because his class will not take flowers to their classmate Seale's home because Seales is black, has gone to express his dismay to Mr. Florian. Mr. Braithwaite is upset because he feels that despite all that he has tried to teach his students about relationships and tolerance, they have learned nothing. Mr. Florian counsels Mr. Braithwaite,
"You must be patient...you've done a great deal with them. Be patient. Maybe next year, the year after - who knows? Go back to them and show them some of the same tolerance and patient good will you hope to get from them".
Mr. Braithwaite is humbled by Mr. Florian's words. He recognizes the wisdom in the Headmaster's advice to be patient. Mr. Florian is astute enough to recognize that Mr. Braithwaite's inability to accept the children's incapacity to overcome the deeply ingrained prejudices with which they have been raised is evidence of the same attitude of intolerance against which he preaches, and he kindly but firmly guides the younger man into acknowledging this. In amazement, Mr. Braithwaite reflects,
"This little man always seem(s) to grow larger as he (speaks); as if to compensate for his twisted frame he (has) been given a saintliness; a deep patient wisdom which quite dwarf(s) bigger, more imposing men".
I don't think, however, that I would agree with the statement in every instance as it concerns Mr. Florian. Although he is unfailingly sincere and well-meaning, Mr. Florian shows in some instances that his judgment is seriously flawed. This is especially evident in the incident involving his part in dealing with the newspaper article written about Greenslade's School. Mr. Florian does not consider that his decision to allow coverage of the institution might be ill-advised until it is too late, and he also condescendingly initiates the idea of spotlighting the presence of Mr. Braithwaite as a black teacher on the staff as an illustration of the school's atmosphere of tolerance (Chapter 20).
In the book A Separate Peace Finny has had his leg repaired but knows it will not be the same. He has to face life very differently now. Brinker has moved into Leper's room and jokes with Gene that he has the room to himself because of his roommates injury. He also makes some joking allegations about Gene's guilt towards Finny. While they are in the basement it is hard to like Gene very much. He is in the hot seat for having made Finny fall, but he jokes his way out of it.
"I had to take part in this, or risk losing control completely."(89)
Finny gained my sympathy after he was injured. Like many readers I had begun to realize that he had been handed a raw deal in life. He had been a good and outgoing person who was trusting. He was wounded by the person whom he trusted most. I liked him all the more because he had chosen not to believe that someone he cared about could have done something that had caused him to be severely injured.
In these two chapters the reader begins to question who Gene really has become. Gene is going to shovel some snow out for the railroad and will get paid for it. Leper sees him and shares that he will be going into the military.
At the end Finny returns and Gene is very happy. He begins to realize how much he and Finny are a part of one another.
"Everything that had happened throughout the day faded like that first false snowfall of the winter, Phineas was back."(102)
Your question really needs to specify what, if anything, Heathcliff might be symbolic of. Anyway, it is clear that this novel is driven by this central character and much effort has been expended in trying to explain and understand him.
What is interesting about his character, however, is that he seems to reject being categorised or being interpreted. He appears to be the kind of character where readers see what they want to see, becoming an open box for their own views and prejudices. Note how the novel seems to be very ambigious in actually determining something of the precise nature of Heathcliff. On the one hand Nelly repeatedly describes Heathcliff in terms of savagery, using animal imagery or supernatural imagery. He is described as a "vampire" and a "savage beast". Yet on the other hand, Nelly also stresses his common humanity with the rest of us. Thus we seem to be played with as readers as the novel continually never refuses to damn Heathcliff entirely. We interpret his cruelty as a twisted expression of his frustrated love for Catherine, or that his disturbing acts are just a smokescreen to hide the heart of a Romantic hero. As readers we keep on expecting Heathcliff to display hidden virtues. It is important to realise how Bronte is playing with and subverting the traditional Romance genre. Normally, Romantic heroes are brooding and dangerous at first, only to emerge later in the novel as compassionate, loving and devoted. Think of how Jane Eyre "tames" Rochester if you want an example of this. And let's face it - the cliche of a "bad man" being made good by a "good woman" is a stereotype that abounds in today's fiction and media. Whatever your view on Heathcliff, I think everyone agrees that there is something strangely compelling about a character that is so stridently independent and cares little for the mores and values of the world. He is a character that is much bigger than the pages of the novel that try to contain him!
Emerson's quote, "It was high counsel that I once heard given to a young person, 'always do what you are afraid to do,'" could be understood as follows.
First, Emerson's use of "high counsel" indicates that he believes this advice to be extremely valuable. We can also surmise that it is especially important that the advice be best taken while a person is still young.
One would expect that he admires this advice, perhaps because he is now older and did not do the same--or did so and finds the advice to be precise and true. The old adage "too soon old, too late smart" comes to mind. Maybe he has learned by experience, which is often the case in Emerson's writing as he so often looks within and shares his observations in his writings.
When we are young, the world is fresh and all things are possible. We can confront the future as if it were a blank page, and we can write whatever we wish on that page. Our choices will shape our lives and we will never again have that opportunity to freely follow the path of our choosing. Later in life, when we have financial and/or familial responsibilities, taking a new path is possible, but comes with the considerations attached to our responsibilities.
Youth also comes with marvelous hopes and dreams, and the energy, the innocence and the passion to work tirelessly to reach those lofty heights. When we are young, we so often will believe that what may seem to be impossible to others (whose vision has--over the years--been tainted by disappointment and skepticism), are just within reach. Life takes its toll and often as we grow older, we don't have the belief in ourselves to reach for the golden ring.
With regard to Emerson's use of "fear," this speaks to a young person's self-doubts. The world is quick to quash youthful dreams when those dreams have been unattainable to older generations. We could argue that Emerson sees the unique qualities in each person and holds with the belief that if we, as young people, can quiet the voices of doubt and cynicism around us, we can experience living to the fullest, enjoy a life met head-on with exuberance, and achieve all of which we are capable. If not, we may look back some day with regret, a wasted emotion--something that cannot be changed.
From Emerson's perspective, one can assume that he encourages us while we are young, perhaps even young at heart, to meet life with a belief in what is possible, without fear. This is easier when we are young, but perhaps Emerson would agree that if we keep the energy and innocence of youth within, perhaps we all can achieve great things if we move forward without fear.
Pip had met Molly in chapter 26. She is Jaggers' housekeeper. He refers to her here:
She set on every dish; and I always saw in her face, a face rising out of the cauldron. Years afterwards, I made a dreadful likeness of that woman, by causing a face that had no other natural resemblance to it than it derived from flowing hair, to pass behind a bowl of flaming spirits in a dark room.
Then as he spends time with the older Estella (whom he had not seen since she "grew up") he begins having these strange feelings. He uses the word ghost. Something in his sub-conscience is telling him there's a likeness there in her eyes to someone he's seen before. He's trying to figure it out, but cannot make the connection yet. Dickens is trying to hint or foreshadow to the reader, but Pip cannot see past his desire for Estella during this scene. He doesn't even see how devastated the area is. He is so caught up in her beauty.
Nowadays, the accepted definition would be a bit more technical and goes :
evolution is the change in allele frequency in a population, over time.
Basically, it's characteristics (beneficial and detrimental) which occur more (or less) in groups as generations come and go.
The first time Beatty visits, it is after Montag steals a book from the lady's house that they had burned the night before. He sleeps in that next morning, and Beatty shows up. The reason he gives is that he had guessed Montag was going through a crisis, and that "Every fireman, sooner or later, hits this...they only...need to know the history of our profession." Montag had been asking a lot of questions lately, so Beatty showed up to explain why books had to be burned, and why Montag was performing a public service by doing so. He gives a long lecture that all boils down to the fact that "People want to be happy". He then alludes to the fact that all fireman want to read one at some point; that Montag shouldn't bother because they say "nothing", and if he did happen to read one, to return it in 24 hours.
The subliminal message to Montag is that he had better shape up, get his act together, and get back to work. It's a passive-aggressive way of saying, "I know what you're up to, and you had better stop." Well, Montag doesn't, which prompts Beatty's second visit: to torch the house and arrest Montag.
In the first few lines, he starts each phrase off with present-tense verbs-"wandering...kindling...falling," and ties them all together with commas. This makes for one very long sentence that is balanced with the verbs and commas (a technique called parallelism). When a sentence has parallelism, it is rhythmic, bouncy, balanced, going along like a ship on the waves.
In the last segment of section 10, he starts most of his phrases off with the word "and"; each segment is about the same length, ending again in a comma. He repeats this pattern 5 times. Beginning with the same word and having them all about the same length again adds to the parallelism of the phrases, making it seem balanced, well-thought out, rhythmic and cadenced:
"And went where he sat on a log and led him in and assured him,
And brought water and fill'd a tub for his sweated body and bruis'd feet,
And gave him a room that enter'd from my own, and gave him some coarse clean clothes,
And remember perfectly well his revolving eyes and his awkwardness,
And remember putting plasters on the galls of his neck and ankles;"
Cadence creates a calmness, a peacefulness, and a song-like rhythm that is soothing to the ears and mind. It also makes the poem seem more connected and flowing. I hope that helps a bit!
It's an interesting question, but I'm not sure Shakespeare really specifies how many chances Hamlet gets to potentially kill Claudius. Thinking about it, any time when Hamlet is onstage with Claudius, he could potentially pull a knife and just stab him to death - of course, Hamlet knows Claudius is the murderer, we assume (though again, this is difficult to ascertain precisely) from the play scene onward, when he longs to "catch the consciience of the king".
I'd argue Hamlet has a pretty clear chance of assassinating Claudius there and then in the theatre, once he's seen the reaction... though of course, that's not what he says to Horatio he'll do. He's only there to watch Claudius while Claudius watches the play.
I suppose the first real moment that Hamlet has an undoubted chance to kill Claudius is in Act 3, Scene 3:
HAMLET:
Now might I do it pat, now he is praying;
And now I'll do't.
But Hamlet talks himself out of it (again). And then after that, any moment at which he sees Claudius he could kill him. So that could include the graveyard scene, the "Where is Polonius?" scene, the fencing match (after which - in the same scene) he does eventually kill him.
There are lots of moments where Hamlet potentially could kill Claudius, though I'm not sure I can give you a definitive number. Key point is, of course, that Hamlet doesn't - not until the end.
Cherry comes to the drive-in with her drunken boyfriend, Bob (Leif Garrett), and leaves because she is upset with his drinking. She goes to the seats with her friend Marcia and ends up sitting in front of Ponyboy, Dally, and Johnny. They hit it off, and all walk home from the drive-in until Bob and Marcia's boyfriend, Randy, show up in their blue Mustang and ask them to get in. The girls oblige in order to avoid a fight between the Greasers and Socs right then and there.
Theseus is the duke of Athens, a warrior who won Hippolyta, queen of the Amazons, in battle. Egeus is the father of Hermia, the daughter who wants to marry Lysander, not Demetrius who is her father's choice of husband for her. Egeus is furious that his daughter is bucking his will and determination that she will marry the man he wants her to marry. He angrily brings his daughter the two men to Theseus and asks Theseus to impose "...the privilege of ancient Athens.." which is to make Hermia marry the man her father chooses or be put to death for the refusal. He seems very determined that this be carried out; a rather harsh reaction to his daughter's preference for another husband. Theseus isn't quite as blood-thirsty as Egeus (having been softened perhaps by his love for and impending marriage to Hippolyta). He tells Hermia that she has 3 choices: marry Demetrius like her father wants, become a cloistered nun forever shunning men, or die. When the situation seems to resolve itself in Act 4, sc. 1, and Demetrius now declares his love for Helena rather than Hermia, Theseus seems pleased to celebrate their weddings as opposed to enforcing any punishment or execution.
Shelley wrote "Frankenstein," her most famous work as an exercise to keep away boredom while on vacation in Switzerland with her husband Percy, Lord Byron and others. The task was to create a story that they would enjoy reading. Mary Shelley wed her imagination to the modern day advances in technology to create a story of a man consumed with seeking scientific glory.
"Frankenstein" is reflective of Mary Shelley's life experience because in her time, technology and innovation were beginning to surge and science was making leaps and bounds with new inventions. Two particular areas of science that are focused upon in this novel are the use of electricity and understanding the origins of life. Heavily influenced by the Industrial Revolution, Shelley examines the potential hazards of technology going too far.
The novel accurately reflects the use of corpses for anatomical study, a practice that was used by medical students to understand the human body. Shelley allows Victor Frankenstein to take his experiments one step further, using electricity, a new phenomena, to bring the patchwork monster to life.
Shelly wrote a cautionary tale for her time, fearing that technological advances in medicine and science would create men who would play God with unforeseen tragic consequences. She was a visionary.
Often the truest Christian is not the person who ostensibly professes one's faith, but, rather, the one who quietly lives it. Jane Eyre is such a character, quietly driven by her moral fiber, her truly Christian nature. Thus, religion does move the chain of events, the plot.
In "Jane Eyre" Bronte presents a contrast between characters who believe in and practice what she considers a true Christianity and those who pervert religion to further their own ends. In her preface, Miss Bronte states that
narrow human doctrines, that only tend to elate and magnify a few, should not be substituted for the world-redeeming creed of Christ.
Mr. Brocklehurst, whose cruelty to the girls is despicable, is a hypocritical Christian as he uses religion as a justification for punishment. In contrast to him is poor Helen, who like a sainted martyr, turns the other cheek and loves those who hate her. While Jane does not possess the selfless faith of Helen, she is religious in a less typical way: She does pray and call upon God to assist her and protect Rochester. After learning of Rochester's marriage, Jane leaves because her moral character will not allow her to stay and live in sin with Rochester.
Later, Bronte again portrays the hypocrisy of the declared Christians in the character of the clergyman St. John Rivers who only views Jane as a helpmate for his missionary work in India.
Atonement and forgiveness, tenets of Christianity, are in the resolution of the plot as Rochester pays for his sins through fire and loss of sight; Jane forgives him and marries him.
The setting is the time and place where a story takes place. It may seem trivial, but in many instances, the setting plays a very large part in how stories are played out. Can you imagine how Romeo and Juliet would have ended if it had taken place in the present? Juliet could have just sent Romeo an email telling him of her plans to fake her death.
In literature, a story's setting not only creates conflict, but it may also determine the choices that characters ultimately make.
In stories like "Lord of the Flies", the setting almost becomes a character in itself. In this story, our characters are put into an environment that changes who they are. The boys submit to their basic survival skills and chaos ensues. Think of how differently the story would have played out if the boys' plane had crashed in a colder environment. They would have been faced with an entirel different set of conflicts.
Simon is unlike either division of the boys: Jack's primordial side of human nature and Ralph's rational side who are "two continents of experience and feeling, unable to communicate" (Ch.3). For, he represents the intuitive nature of humanity. A loner, he is neither a little'un or a big'un and he seeks his secret place on the island. Yet, he is more courageous than all the other boys. For, unlike Jack, the savage who has repelled all vestiges of civilization who denies the beast's existence since he has not seen it, Simon confronts this beast first in the form of the pig's head--"the lord of the flies,"--and then in the "parody" of the dead parachutist. These Simon intuitively knows symbolize the evil within human nature: "You knew, didn't you? I'm part of you?....U'm the reason why...things are what they are?" (Ch.8). But, because his knowledge is intuitive rather than rational, Simon is unable to articulate his message before the savage hunters kill him.
Too sensitive to adjust to circumstances, in an earlier scene in Chapter 4, Simon's vulnerabilty to the savage nature is foreshadowed in the scene in which the boys scramble toward the raging fire on top of the mountain.
Simon, struggling with the bushes, caught his breath. His face was twisted. Ralph blundered on, savaging himself, as the wisp of smoke moved up....Ralph reached inside himself for the worst word he knew.
Here are hints that Simon has no vestiges of the savage--not even the survivor instinct that controls Jack--and he cannot "reach inside himself" for the words he needs to communicate.
You need the first few lines of the whole Canterbury Tales for this - this is an excerpted chunk from the General Prologue:
Whan that Aprill with his shoures soote
The droghte of March hath perced to the roote,
[...]
Thanne longen folk to goon on pilgrimages,
And palmeres for to seken straunge strondes,
To ferne halwes, kowthe in sondry londes;
And specially from every shires ende
Of Engelond to Caunterbury they wende...
[...]
Bifil that in that seson on a day,
In southwerk at the tabard as I lay...
So the answer is right there: it's April. Or at least, it looks like being April, it was only "in that season" that Chaucer stayed in Southwark at the Tabard Inn where he met the pilgrims.
April is the month when things start to grow: the rainy weather of March has brought the shoots out of the ground. And that's the time when people want to go on pilgrimages - and go off to Canterbury.
Hope it helps!
In To Kill A Mockingbird the name of Simon's homestead is "Finch's Landing". The homestead was built by Scout and Jem's ancestor Simon Finch. During the story the homestead plays a role when Scout and Jem are forced to spend Christmas there with Aunt Alexandra. Scout and Jem enjoy the time they spend with their Uncle Jack, however, they resent the time visiting their Aunt Alexandra because they have to play with their cousin, Francis. This location in the novel allows for a more in depth picture of the familial relationships that impact the lives of the characters.
For your other questions, input separate questions for each one-you'll have a better chance of getting them all answered. There's just not room to answer all of them in one question.
In regards to your first question, war is important to the students and faculty because it has, or is going to, impact all of them in one way or another. A lot of the faculty fought in the first world war, or knew people that did, and probably lost friends and family there. For the students, a lot of them will end up fighting in the second world war, as is evidenced as the book progesses. Not only this, but the students see trains full of soldiers off to war, which prompts a lot of them to go join. Also, near the end, parts of their school are vacated and donated to the war effort for storage and training. It changes everything that they know, their entire world.
For specific characters, Finny is impacted by the war because they won't accept him. He desparately wants to join the war, but because of his leg, can't get in. From this sprouts a lot of his schemes, plots, and activities-a way of staying busy to stay in denial about it all. Then for Leper, we see the war be an actual catalyst to his mental breakdown, and eventual betrayal of Gene, something that was to harsh for the "old" Leper to have done. It shapes and changes his personality.
In one way or another, every character in the book is impacted by the war.
In considering both of the main characters, we can feel empathy as readers with both of their positions, and likewise we can identify that the way they interact can be cruel and heartless.
We are made to feel both pity for and resentment at Jing Mei's mother. We are given brief details about her difficult past in China and how she viewed her coming to America as representing being somewhere where anyone could achieve anything, so from this perspective we can understand the pressure under which Jing Mei is placed by her mother: partly her mother wants her daughter to have the success and prosperity that she was never able to have in her childhood and life.
However, through use of first person narration we are able to identify with the character of Jing Mei, and appreciate her increasing resentment throughout the story of her mother and her desire to be her own person and to be "normal".
Jing Mei and her mother both commit acts of cruely to each other, the high point of conflict coming after Jing Mei's disastrous debut as a pianist, when she refers to her mother's other children that died. Both characters are incredibly stubborn, and even though Jing Mei admits she could have become a competent pianist, she deliberately chose not to as a means of defying her mother's wishes and becoming the person she chose to be.
What is interesting about the ending of the story is Jing Mei's description of the piano as a "shiny trophy" - suggesting perhaps that she had metaphorically "won" it, but on her own terms, rather than by following her mother's plan for her life. Jing Mei's realisation that the piece of music "Pleading Child" is coupled with "Perfectly Contented" likewise provides a pleasing ending to this excerpt as we come to see that Jing Mei has reached a stage where she is no longer trying to gain her mother's approval and is at peace with her own decisions and life choices.
The two main characters in "Two Kinds" therefore are similar in their stubborness and resolute nature. Jing Mei's mother insists on trying to mould her daughter into a "prodigy" for a number of motives - both for her own good and for pride. However, in response to this pressure, Jing Mei embarks on a quest to gain the right to not be spectacular and to be normal, gaining her own independence and sense of selfhood through the process of this quest
There's no real way that Boo can be responsible for Jem's broken arm. It was during the physical conflict between Jem and Ewell that his arm was broken, the text says. Boo only arrives on scene after Ewell is attacking Scout, who had responded to Jem's cries.
Boo's involvement could in no way have caused harm to Jem, in particular. While the townspeople have previously accused Boo of all kinds of misdeeds, this is one time when his actions were kind, just, and necessary.
"Riders to the Sea" should be classified as a poetic drama because of the play's dialogue, some of the specific words used, and the overall symbolism. By the dialogue I mean Synge works hard to capture the poetry of Irish speech. The rhythms, the word choices, the syntax: all capture that lyricism. Look, for example, at this line: " Middling bad, God help us. There's a great roaring in the west, and it's worse it'll be getting when the tide's turned to the wind." That's a description of the weather!
The specific word choices are closely linked; the strong religious sentiment of the people mean that they often use names with Biblical or mythic resonance, such as Michael.
Finally, the overall situation is poetic, especially in the imagery. Look at how the body is kicked into the sea at the end.
The Puritans were very religious and tried to avoid the devil and evil works as much as possible. The paradox is that these very serious and religious people could be duped into believing a group of young girls and allow themselves to be taken in by their lies and actions. The girls actions also allow long simmering disputes that should have been forgiven or dealt with to come to the surface and become the motive for accusations of witchcraft that had nothing to do with the original dispute. For example, Giles Corey was convinced that Thomas Putnam is taking advantage of the trials in order to obtain more land. When Corey is accused of witchcraft, he allows himself to be crushed to death by his accusers rather than "confess" and have his land taken by Putnam. All of this devilish behavior was supposedly committed in order to get the devil out of Salem. Instead, the evil lead to the innocent deaths of at least 19 people.
1. Nick's relationship with his dad is compliant. Nick follows his dad seemingly without argument to a remote Indian camp to assist his father in a difficult delivery. From Nick's questions, readers infer that Nick went along with his dad before even knowing what their mission was, and from Nick's lack of excitement when his dad answers his question, Hemingway demonstrates that Nick is used to simply going along with this dad.
2. Their relationship is also a typical father-son relationship. Nick's father becomes so engrossed in his difficult task that he forgets that his young son is witnessing the quite horrific events, but when he does come down from his adrenaline rush from successfully delivering the child, he realizes that Nick is not doing so well and attempts in his own way to comfort him.
3. Finally the father-son relationship is honest. Nick obviously feels comfortable enough to ask his dad anything (i.e., after the Indian husband's suicide, he asks his father if dying is hard), and Nick's dad thoughtfully offers concise but honest answers.
Tom tried to escape because he knew that his situation was hopeless. Having been convicted of raping a white woman he knew that, having been convicted by a white jury, he had little or no chance for an appeal, regardless of what Atticus said. In Alabama at that time the sentence for rape was death, so he, in effect, committed suicide by trying to escape.
A lot of cultural values can be seen in the characters of the Widow Douglas and Miss Watson. The Widow Douglas takes Huck in "and allowed she would sivilize" Huck. That included a series of things, including dressing him nicely, teaching him table manners, teaching him how to read and write, and teaching him about religion and the bible. All of these things are cultural values that are imposed onto Huck. He doesn't take nicely to any of them. Of the decent clothing, he says,"I couldn't do nothing but sweat and sweat, and feel all cramped up." Of table manners he states,
"when you got to the table you couldn't go right to eating, but you had to wait for the widow to tuck down her head and grumble a little over the victuals."
Of the bible, he states of Moses, "I don't take no stock in dead people," and of learning to write and read he says, "I couldn't stood it much longer." Then of heaven and hell he outright states of hell, "I wished I was there," and of praying he feels,
"I couldn't see no advantage about it-except for the other people; so at last I reckoned I wouldn't worry about it any more, but just let it go."
So, all of these things are cultural values that the widow and Miss Watson try to acclimate Huck too, but he doesn't really take nicely to any of them.
The other large cultural value that is seen in the book is people's attitudes towards slavery. They all thought that slavery was good, that runaway slaves were bad, and that to help was runaway slave was "low-down and ornery". Huck reflects that attitude throughout most of the novel; he gets mad at Jim for wanting to buy his children and wife freedom, he promises to help Jim escape but feels dirty about it, he almost tells on Jim several times, and feels as if Providence (or God ) is punishing him for helping Jim on several occasions. So that is another cultural value that is reflected in the novel.
I hope those examples help get you started. Good luck!
Throughout the play, many characters come to a conclusion that Caesar must be killed, Brutus included. However, Brutus is the only conspirator in the play who acts entirely out of sincerity. While the other conspirators seek to gain power by eliminating Caesar, Brutus honestly believes that Caesar's climb in authority would be bad for Rome. In this scene, Brutus mulls over his dilemna, weighing out the facts for himself. While he is still loyal to Caesar, he also fears that Caesar would become corrupt by a gain in power or status.
After Brutus's servant enters and delivers the letter, Brutus finds that his first impressions were solid. He believes that the letter details the wishes of the Romans to be rid of Caesar; since Brutus always tries to act in the best interests of Rome, he determines that he must follow through with the conspiracy plot. Once he measures the pros and cons of the situation, Brutus comes to a decision that Caesar must die, for the good of Rome.
