In what ways are the Biblical account and The Bronze Bow account are alike and different?

First, the genres of the two works are quite different. The Bronze Bow is a novel, a fictional work written as a form of entertainment for young adults. The New Testament is a religious document, gradually composed over a period of several decades from oral traditions.

While The Bronze Bowhas a single narrator and viewpoint and a consistent story, the New Testament consists of four different Gospels and various other letters and narratives that...

First, the genres of the two works are quite different. The Bronze Bow is a novel, a fictional work written as a form of entertainment for young adults. The New Testament is a religious document, gradually composed over a period of several decades from oral traditions.

While The Bronze Bow has a single narrator and viewpoint and a consistent story, the New Testament consists of four different Gospels and various other letters and narratives that collect together an assortment of narratives and sayings, chosen for making spiritual points rather than creating a coherent and compelling work of literature. 

The main antagonists in The Bronze Bow are the Romans. This is a story that focuses on how best the Jews can live under Roman rule, using sentimental portrayal of a young Jewish man to make the argument that following Jesus is a better choice than direct rebellion. The New Testament is not strongly anti-Roman. In many ways the Jews are as much the antagonists as the Romans, who tend to be portrayed as administrators who are sometimes harsh but often distant and pragmatic. 

The other major difference is that novel evokes deeply personal sentiment, verging on sentimentality, while the New Testament is deeply theological. 

What is the setting of Wonder?

In Wonder, a novel by R.J. Palacio, Auggie Pullman is ten years old and dealing with the combined difficulties of health problems and disabilities; he is starting the fifth grade at a private school after having been homeschooled his whole life. A lot of his troubles come from being bullied by another student named Julian. The story is told from the viewpoint of several people, and we get a pretty wide view of Auggie's...

In Wonder, a novel by R.J. Palacio, Auggie Pullman is ten years old and dealing with the combined difficulties of health problems and disabilities; he is starting the fifth grade at a private school after having been homeschooled his whole life. A lot of his troubles come from being bullied by another student named Julian. The story is told from the viewpoint of several people, and we get a pretty wide view of Auggie's world and the people around him.

Wonder is set in New York City in the modern day (the book was published in 2012). A good deal of the book takes place at Auggie's new school, Beecher Prep, as well as his family's townhouse. Both are in the Upper Manhattan area of New York City.

As sand leaks out of a hole in a container, it forms a conical pile whose altitude is always the same as its radius. If the height of the pile is...

Hello!

We can find the rate at which sand is leaking in volume per time. It is natural to measure time in minutes and volume in cubical inches for this problem.

Denote the radius of the cone (and its altitude) as `r(t)` (in inches). The rate of change of the height (and radius) is `r'(t)` and it is given to be `6` inches per minute. We also know that the volume of a (right circular)...

Hello!

We can find the rate at which sand is leaking in volume per time. It is natural to measure time in minutes and volume in cubical inches for this problem.

Denote the radius of the cone (and its altitude) as `r(t)` (in inches). The rate of change of the height (and radius) is `r'(t)` and it is given to be `6` inches per minute. We also know that the volume of a (right circular) cone is `V = 1/3 \pi r^2 h,` where `h` is the altitude. In our case it gives  `V(t)=\pi/3 r^3(t).`

To find the rate of leaking, we need to take the derivative (use the Chain Rule):

`V'(t) = (\pi/3 r^3(t))' = \pi r^2(t)r'(t) = 6\pi r^2(t).`

For the moment when `r(t) = 10,` this derivative will be

`6\pi*10^2 = 600\pi approx 1885`  (cubic inches per minute).

When the altitude is 10 inches, the rate at which sand is leaking out is about 1885 cubic inches per minute.

In the first paragraph, what kind of emotional appeal (pathos) does it have?

In the first pamphlet of "The Crisis," Thomas Paine appeals to the masculine pride and patriotism of his reader. He observes that "the summer soldier and the sunshine patriot will, in this crisis, shrink from the service of his country."  A summer soldier fights only when conditions are favorable, and a sunshine patriot only steps forward when risks are low.  To be either of these things, Paine argues, is a cause for shame.

Contrastingly, Paine...

In the first pamphlet of "The Crisis," Thomas Paine appeals to the masculine pride and patriotism of his reader. He observes that "the summer soldier and the sunshine patriot will, in this crisis, shrink from the service of his country."  A summer soldier fights only when conditions are favorable, and a sunshine patriot only steps forward when risks are low.  To be either of these things, Paine argues, is a cause for shame.

Contrastingly, Paine appeals to the emotion of pride when he observes that the man who is still willing to step up when battles are being lost "deserves the love and thanks of man and woman." What is implicit in his words is that committing oneself to the revolution is heroic. 

Paine also appeals to people's emotions regarding justice; he calls the British tyrants and asks people to fight for the restoration of justice in the form of freedom from the virtual enslavement the crown is exerting over the colonies.

Paine makes the ultimate appeal to his readers' sense of moral outrage when he declares that the kind of power Britain has seized "can only belong to God."

Who was Anne Muellor in the Thorn Birds like in The Kite Runner and A Thousand Splendid Suns?

In The Thorn Birds, Anne Mueller is the husband of Meggie's employer, Luddie Mueller. Anne had infantile paralysis when she was younger and knows what it is to suffer. Anne is considerate and kind, and she and her husband, Luddie, do not say anything when they watch Meggie wait without success for her husband Luke to arrive to visit her each Sunday. She is a good friend to Meggie and desperately wants her to...

In The Thorn Birds, Anne Mueller is the husband of Meggie's employer, Luddie Mueller. Anne had infantile paralysis when she was younger and knows what it is to suffer. Anne is considerate and kind, and she and her husband, Luddie, do not say anything when they watch Meggie wait without success for her husband Luke to arrive to visit her each Sunday. She is a good friend to Meggie and desperately wants her to have a baby to keep her company while Luke is away. During Meggie's labor, Anne realizes that Ralph loves Meggie as much as she loves him, but Anne is discreet and keeps Meggie's secret confidential. Anne is so kind to Meggie that she helps her take a vacation when Meggie is struggling after her daughter, Justine, is born. 

You may have a different idea, but it seems like Anne Mueller is in many ways similar to Rahim Khan, Baba's friend in The Kite Runner. Rahim Khan is constantly supportive of the main character, Amir, and gives him the love he does not always receive from his father, Baba. At the outset of the book, Rahim Khan calls Amir to suggest a way to atone for his past sins (which is adopting Sohrab, Hassan's son). Rahim Khan cares about Amir and about his conscience. When Amir is growing up, Rahim Khan is a more sympathetic figure than Baba is; for example, Rahim Khan supports Amir's interest in writing. As Rahim Khan is supportive and thoughtful, he has some similarities to Anne Mueller.

In A Thousand Splendid Suns, one character who is somewhat similar to Anne Mueller is Mullah Faizullah, Mariam's friend when she is growing up. He is supportive of Mariam and, for example, tries to intervene with her mother to have her educated. He is kind to Mariam and provides her with presents, such as her clock, and supports her dreams more than her parents do. In these ways, he is similar to Anne Mueller.

How did cuneiform affect Mesopotamian civilizations?

As a form of writing, cuneiform gave Mesopotamian civilizations a means of keeping accurate records and, after the development of phonetic writing, expressing abstract ideas in writing. This had profound consequences, which included:

• the rise of a small literate class that led to increased social specialization and bureaucracy.


• the ability to record historical events for posterity. These could be, and often were, used to demonstrate the power and therefore legitimacy of Mesopotamian rulers.


• the ability...

As a form of writing, cuneiform gave Mesopotamian civilizations a means of keeping accurate records and, after the development of phonetic writing, expressing abstract ideas in writing. This had profound consequences, which included:

• the rise of a small literate class that led to increased social specialization and bureaucracy.


• the ability to record historical events for posterity. These could be, and often were, used to demonstrate the power and therefore legitimacy of Mesopotamian rulers.


• the ability to record religious stories, poetry, perpetuating culture.


• the keeping of more accurate records, especially tax receipts, which enabled the expansion of state power.


• the recording of laws (which famously happened with Hammurabi's Code) in order to standardize and legitimize the power of the state.


• record astronomical and other observations, including river levels, seasonal weather variations, and so on.

In short, the invention of cuneiform, and especially phonograms, was a crucial step in the evolving complexity of Mesopotamian societies. It also, happily for modern archaeologists and historians, tells us much more about them than we would otherwise know.

How can I write a great thesis on the topic of setting in stories? How does the setting of a story affect the character? What role does the...

Character, setting, and plot are intricately woven together in order to form a cohesive story.  Without a setting, a character would exist in a vacuum.  He or she wouldn't be able to affect anything or be affected by anything.  I don't want to make a blanket statement and say that the setting of a story is what alwaysdrives the plot, because that isn't always true; however, there are frequently times when the setting of...

Character, setting, and plot are intricately woven together in order to form a cohesive story.  Without a setting, a character would exist in a vacuum.  He or she wouldn't be able to affect anything or be affected by anything.  I don't want to make a blanket statement and say that the setting of a story is what always drives the plot, because that isn't always true; however, there are frequently times when the setting of a story drives the characters and the plot.  Let's take Lord of the Flies as an example.  I feel that a fairly strong case could be made that characters like Jack and Roger never descend to such moral lows without the plane crash and deserted island.  I don't believe that Timothy and Phillip from The Cay ever bond without the island that they are on.  1984's Winston Smith wouldn't be who he is if he wasn't surrounded by the totalitarian government of Oceania.  In each of those cases, the characters are shaped and driven by the setting of the story.  Setting and character are integral to each other.  

I feel that the above relationship of setting and character is more common, but there are times when the setting is nothing more than a backdrop for the events of the story.  Take Winnie-the-Pooh as an example.  The stories told about Pooh and his friends are stories about curiosity, wonder, friendship, and helping each other.  Those stories happen to take place in a forested area, but they could also happen in a jungle or an open field.  

In order to write your thesis, you need to choose how you feel about the importance of setting and character.  A thesis statement is a statement of opinion, and it's an opinion that you have to defend through the body of your paper.  The statement can't be a fact.  If it was a fact, there wouldn't be anything to debate. 

I recommend writing a two-part, either/or style thesis.  You will begin the thesis with the world "although" because it guarantees a dependent clause.  The first half of the thesis statement will be the part that you intend to disprove.  The second half of the statement is the part that you believe in.  For example, you could write a thesis that goes something like this: "Although it might seem that the setting of a story has minimal impact on characters, the setting of a story is actually one of the most important and integral parts to driving a plot forward and to characterizing each character." 

To what extent was propaganda the Third Reich's most powerful tool?

Propaganda can be defined as information of a biased or misleading nature. Over the twelve-year course of the Third Reich, it proved to be a potent weapon in the hands of the Nazi regime. As with any other totalitarian dictatorship the Third Reich imposed a total ban on any independent sources of information. The government only wanted its message to get out; it sought total control over the hearts and minds of the German people and propaganda was a highly effective weapon in achieving this aim.

The Nazis refined propaganda almost to an art form, achieving at times a high degree of sophistication. Reich Propaganda Minister Goebbels was particularly effective in embracing the power of media such as radio, cinema, and newspapers to convey the Nazi creed. Films such as Triumph of the Will were incredibly innovative in their use of cinematic techniques, achieving great critical acclaim despite the unacceptable nature of its message.

At other times, Nazi propaganda could be willfully crude. It largely depended on which particular policy was being pushed at the time. Propaganda against the Jews, for example, showed none of the sophistication or aesthetic worth of Triumph of the Will. It was uniformly vulgar, pandering to the basest instincts of a population increasingly whipped up with anti-Semitic hatred. Although the ostensible message of such propaganda was explicit, its underlying message was more subtle. The Nazis were attempting, little by little, to dehumanize the Jews in order to prepare the German people for a more systematic policy of exclusion and ethnic cleansing.

If nothing else, Nazi propaganda was remarkably adaptable. Despite being a dictatorship, the government of the Third Reich couldn't completely afford to ignore public opinion. For example, the state policy of murdering those deemed physically or mentally disabled was deeply unpopular with the country at large, particularly among practicing Christians. So the Nazis had to tread carefully. And their circumspection was reflected in their propaganda, which refrained from addressing this controversial issue except through the language of scientific advancement.

There can be little doubt that propaganda kept the Nazi regime going longer than it ought to have done. Even when it was obvious that the war was lost and that the so-called "thousand year" Reich would last only twelve, most Germans still displayed a remarkable degree of personal loyalty to Hitler. This, more than anything, shows the cumulative effectiveness of several years of systematic propaganda by the state. The German people had internalized the pernicious Nazi narrative of a pure race fighting for its very existence against the barbarous hordes of Jewish-controlled Communists. Instead of challenging the regime, Germans looked to it to provide security in the face of Allied aggression.

One of the Nazis' main articles of faith was the belief in a complete unity of government and people, Reich and Volk, all fanatically struggling together to fulfill their historic destiny. It was, of course, a complete myth. But thanks to arguably the most sophisticated, innovative propaganda machine in history, that myth contained more of the truth than it really ought to have.

In Philip Pullman's The Amber Spyglass, what is the best textual evidence to support the theme "people make great sacrifices for the ones they love"?

In order to fully appreciate the moment in Philip Pullman's The Amber Spyglass when Mrs. Coulter sacrifices herself for Lyra, a development that occurs in Chapter 31, it helps to be at least passingly familiar with the previous volumes in Pullman's Dark Materialstrilogy. Among the novels' main characters is Mrs. Coulter, who, it is known, is Lyra's mother. Lyra, of course, is one of the trilogy's central protagonists, and a figure deliberately likened to...

In order to fully appreciate the moment in Philip Pullman's The Amber Spyglass when Mrs. Coulter sacrifices herself for Lyra, a development that occurs in Chapter 31, it helps to be at least passingly familiar with the previous volumes in Pullman's Dark Materials trilogy. Among the novels' main characters is Mrs. Coulter, who, it is known, is Lyra's mother. Lyra, of course, is one of the trilogy's central protagonists, and a figure deliberately likened to the Biblical character Eve from the Book of Genesis, Pullman's story being inspired by the Bible while also constituting an indictment of organized religion's perversion and exploitation of that sacred text (Pullman's view). Throughout the story, Mrs. Coulter is depicted as an antagonist--an almost demonic figure representing the personification of evil. As The Amber Spyglass approaches its denouement, this personification of evil gives way to the maternal instincts that have long been sublimated by the imperative of insulating Lyra from the more nefarious influences that have sought her destruction. This, then, is the context in which the following passage from Chapter 31 takes place:

"The cry was torn from Lord Asriel, and with the snow leopard beside her, with a roaring in her ears, Lyra’s mother stood and found her footing and leapt with all her heart, to hurl herself against the angel and her dæmon and her dying lover, and seize those beating wings, and bear them all down together into the abyss." [page 409]

In this climactic scene, Mrs. Coulter is no longer "Mrs. Coulter." She is now "Lyra's mother," a significant transformational moment as Pullman's epic struggle nears its ending.

In a series of novels in which the two main protagonists, Lyra and Will, present optimal opportunities for self-sacrifice, it is Mrs. Coulter's ultimate sacrifice for her daughter that best exemplifies the theme of sacrificing one's life out of love for others.

Identify the theme of Antigone:1 .analyze how it functions in the play2. how is it relevant to today's readers

The theme of a literary work is its central message—the idea an author wants to convey about a particular subject. Many literary works have more than one theme, and this is certainly the case with Antigone. Here are two themes that are portrayed in the play; the one that resonates with you best is the one you’ll most easily describe as the "main" theme.

One angle you can consider is whether it is more important to follow the gods’ laws or man’s laws. Creon makes a law that directly contradicts the gods’ law to bury the dead; Antigone’s decision to bury Polyneices incites the primary conflict in the play. By the end of the play, Antigone is dead and Creon is bereft, so at first glance it may not be clear whom Sophocles favors. However, before Creon loses his family, Antigone says, "but if the guilt lies upon Creon who judge me, then, I pray, may his punishment equal my own." And indeed, his punishment is twice her own, two deaths, two family members lost. Thus, Sophocles suggests that Antigone is in the right and that the gods favor those who follow their laws in the face of adversity.

Closely related, but nevertheless distinct, is the theme of tension between individual morality and the demands of society/the state. Antigone follows her own individual morals rather than the laws of the society in which she lives. Creon, the leader of that society, suffers no societal punishment for his wrongdoing—he remains king when the play has finished. And yet Antigone dies at peace with her actions, while Creon lives on in despair. This suggests that Sophocles’ message was the importance of living up to one’s own standards, even if the laws of the land disagree.

Both of these two themes are relevant to modern audiences. In the United States, there have been many protests of unjust laws throughout history, such as during the civil rights movement of the 1950s and 1960s, and people continue today to protest laws they believe are immoral or unjust. The works of Martin Luther King Jr. are an excellent source of material on believing in divinity as a guiding light in the face of unjust human law. As for individual morality versus societal decree, you can look to today’s sanctuary cities, where local authorities believe the moral and practical good of protecting undocumented immigrants outweighs national laws barring their residence.

Are there any similarities between the characteristics demanded of an entrepreneur and those of a professional athlete? Would an athlete be a good...

There are actually some similarities between the characteristics demanded of an entrepreneur and those of a professional athlete.

Both the athlete and entrepreneur must be individuals who understand the value of perseverance, endurance, and motivation. On the field, the professional athlete must be physically fit, self-disciplined, and resilient. Similarly, in the world of commerce, the entrepreneur must exhibit these same characteristics. Competition in both sports and commerce is extremely high: both athletes and entrepreneurs must...

There are actually some similarities between the characteristics demanded of an entrepreneur and those of a professional athlete.

Both the athlete and entrepreneur must be individuals who understand the value of perseverance, endurance, and motivation. On the field, the professional athlete must be physically fit, self-disciplined, and resilient. Similarly, in the world of commerce, the entrepreneur must exhibit these same characteristics. Competition in both sports and commerce is extremely high: both athletes and entrepreneurs must be willing to work harder than their competitors, and they must love what they do. 

Certainly, an athlete would be a good prospect for entrepreneurship because the characteristics that are necessary for success on the field are the same required in the field of commerce. Today, the most successful athletes are those who can retain their mental and emotional equilibrium in the face of setbacks and failures. Take Tom Brady, for instance. In February 2017, he guided the Patriots from a 25-point deficit to a decisive Superbowl victory. The secret to Tom's success is that he never gives up. 

The drive to succeed and the willingness to make sacrifices encapsulates the modus operandi of every successful athlete. Since these athletes also appreciate the meaning of teamwork, they are likely to make successful entrepreneurs. Below are two links that provide examples of professional athletes who went on to become famous entrepreneurs.

For example, Venus Williams (a world-renowned professional tennis player) has her own fashion line and is also the CEO of her own interior design firm. As if that is not enough, she has endorsement contracts with some of the largest companies in the world. Both Venus and her sister Serena are as successful on the tennis court as they are in the business world.

Venus has also written books about tennis and business. One of her most prominent books documenting how athletic success can be duplicated in the field of business is Come to Win: Business Leaders, Artists, Doctors, and Other Visionaries on How Sports Can Help You Top Your Profession.

Additionally, teamwork could be important in any entrepreneurial endeavor. An entrepreneur needs to be able to rely on his/her team to come up with effective solutions to problems. Also, a good team allows the entrepreneur to delegate responsibilities and projects with confidence. For more on how effective teamwork contributes to success, please refer to the link below.

Kafka developed what 3 characteristics because his father was so hard on him?

In 1919, Franz Kafka wrote a forty-seven page letter to his father, Hermann. The letter is a rich primary source of information about their relationship and the kind of man that Franz Kafka became. A translation of the letter was published posthumously in 1966.

Their relationship was difficult, to say the least.  Hermann Kafka felt that he had struggled and sacrificed his whole life for his only surviving son, Franz.  Consequently, he had explicit expectations...

In 1919, Franz Kafka wrote a forty-seven page letter to his father, Hermann. The letter is a rich primary source of information about their relationship and the kind of man that Franz Kafka became. A translation of the letter was published posthumously in 1966.

Their relationship was difficult, to say the least.  Hermann Kafka felt that he had struggled and sacrificed his whole life for his only surviving son, Franz.  Consequently, he had explicit expectations and standards for his son, including the woman he would marry and how he would make his living.

The first characteristic that Franz Kafka could be said to possess was honesty. In his letter to his father, Kafka confesses that he is, and always has been, afraid of him.  It is not easy to own and articulate our fears, particularly to the source of them.  The fact that Kafka was able to do so is remarkable.

Another characteristic Kafka could be said to have developed in reaction to his father's emotional abuse is, perhaps counterintuitively, compassion.  It would be understandable if Kafka entertained feelings of hatred toward his father, but even in their years of estrangement, Kafka felt compassion for his father; we know this from the letter where he says, "You are, after all, at bottom a kindly and softhearted person." Kafka is somehow able to identify a good quality in his father.

A third characteristic that Kafka developed was resilience.  His father made it very clear that he disapproved of his son's career aspirations.  Instead of surrendering to his father's wish for another career (law), Kafka endured the withering disapproval of his father and carried on with what he wanted to do: write.

What is the problem in the village and its solution?

In Orwell's essay "Shooting an Elephant," an elephant in "must" escapes from its owner and terrorizes the streets of the town in Lower Burma. When the narrator receives the news that an elephant is ravaging the bazaar, he takes his small rifle to check out the situation. The narrator learns that the elephant has already destroyed a bamboo hut, killed a cow, raided a fruit stall, and flipped a municipal garbage van. The narrator then...

In Orwell's essay "Shooting an Elephant," an elephant in "must" escapes from its owner and terrorizes the streets of the town in Lower Burma. When the narrator receives the news that an elephant is ravaging the bazaar, he takes his small rifle to check out the situation. The narrator learns that the elephant has already destroyed a bamboo hut, killed a cow, raided a fruit stall, and flipped a municipal garbage van. The narrator then turns the corner and discovers that the elephant has also trampled and killed a man, who is smashed into the ground with his eyes open. The narrator then requests an elephant rifle in order to protect himself, and a crowd begins to gather. The narrator mentions that the crowd of Burmese civilians makes him nervous and expects him to shoot the elephant when he finds it.

When the narrator finally spots the elephant, it is calmly eating grass by itself. Despite the narrator's personal feelings about shooting the tranquil beast, he feels the need to demonstrate his authority in front of the Burmese citizens and shoots the elephant against his will. Eventually, the elephant dies a long, painful death as the narrator continues to shoot it multiple times before it finally dies.

Can you describe the relationship between Cash and Jewel in As I Lay Dying? How do they perceive themselves? How do they feel about each other?

Jewel and Cash see themselves in very different ways; Cash is a responsible son who sacrifices himself for his mother, while Jewel is the prized son who always receives his mother's attention.

Jewel resents Cash for working to build Addie's casket before she is dead. Jewel says that he resents Cash building the casket:

"Where she’s got to see him. Where every breath she draws is full of his knocking and sawing where she can...

Jewel and Cash see themselves in very different ways; Cash is a responsible son who sacrifices himself for his mother, while Jewel is the prized son who always receives his mother's attention.

Jewel resents Cash for working to build Addie's casket before she is dead. Jewel says that he resents Cash building the casket:

"Where she’s got to see him. Where every breath she draws is full of his knocking and sawing where she can see him saying See. See what a good one I am making for you. I told him to go somewhere else."

While Cash is working hard to construct the casket for Addie, Jewel begrudges anyone who takes attention away from his mother's devotion to him. Jewel also feels that Cash is showing off and that "everybody that passes in the road will have to stop and see it and say what a fine carpenter he is." Jewel feels that Cash constructs the casket only for his own glory.

Cash, however, is in reality a self-sacrificing person who is concentrated on the nitty-gritty technical details involved in the construction of the casket for his mother. His narrative begins, "I made it on the bevel," and he provides detailed instructions about how he builds the casket, showing intense devotion to his responsibilities. Cash relates to his mother's death in a matter-of-fact way, unlike Jewel. He sees himself as the protector of the family. For example, not only does he build his mother's casket, but he even defends Jewel's purchase of a horse. He says to his parents about Jewel:

"He earned the money. He cleaned up that forty acres of new ground Quick laid out last spring. He did it single handed, working at night by lantern. I saw him. So I don't reckon that horse cost anybody anything except Jewel. I don't reckon we need worry."

Anse resents Jewel for owning a horse, but Cash defends Jewel's right to have the horse. It is fitting that Jewel's horse later kicks Cash and breaks his leg, as Jewel is self-centered, while Cash is self-sacrificing.

Scan the following lines from Robert Browning's poem "Count Gismond: Aix in Provence." Mark the stressed and unstressed syllables, separate the...

I thought/ they loved/ me, did/ me grace/

To please/ themselves;/ 'twas all/ their deed;/

God makes,/ or fair,/ or foul,/ our face;/

If show/ing mine/ so caused/ to bleed /

My cou/sins' hearts,/ they should/ have dropped/

A word,/ and straight/ the play/ had stopped./

In the above, the stressed...

I thought/ they loved/ me, did/ me grace/

To please/ themselves;/ 'twas all/ their deed;/

God makes,/ or fair,/ or foul,/ our face;/

If show/ing mine/ so caused/ to bleed /

My cou/sins' hearts,/ they should/ have dropped/

A word,/ and straight/ the play/ had stopped./

In the above, the stressed syllables are bolded, while the unstressed syllables are not. A meter contains several feet of stressed and unstressed syllables. (In poetry, a "foot" refers to two or more syllables, one of which is usually stressed and one of which is usually unstressed.) Since we have an unstressed/stressed pattern in each line, the meter is iambic. Other meters with two-syllable feet are trochaic (with stressed/unstressed feet) and spondaic (stressed/stressed feet).

Also, we have four feet in each line, so we would classify the meter as iambic tetrameter. This means that the feet are iambs—combinations of one unstressed and one stressed syllable—and there are four per line (thus tetrameter, because the prefix "tetra" means "four"). The rhyme scheme is ABABCC. This means that the first line rhymes with the third line, the second line rhymes with the fourth line, and the fifth and sixth lines rhyme with each other. The rest of the poem also shows this rhyme scheme.

They, too,/ so beau/teous! Each/ a queen

By vir/tue of/ her brow/ and breast;/

Not need/ing to/ be crowned,/ I mean,/

As I/ do. E'en/ when I/ was dressed,/

Had ei/ther of/ them spoke,/ instead/

Of glan/cing side/ways with/ still head!/

What happens to the sand in a sieve? What does this have to do with Montag? What comparison does he make to the sand?

When Montag was a child, his cousin said that if he could fill a sieve with sand, he would get a dime. Of course, Montag failed to get the dime because this task is impossible. The sand will always fall through the holes of the sieve, no matter how quickly it is filled.

When Montag travels to see Faber and is sitting on the subway, he remembers this incident with the sieve and the sand....

When Montag was a child, his cousin said that if he could fill a sieve with sand, he would get a dime. Of course, Montag failed to get the dime because this task is impossible. The sand will always fall through the holes of the sieve, no matter how quickly it is filled.

When Montag travels to see Faber and is sitting on the subway, he remembers this incident with the sieve and the sand. With a Bible in his lap, he tries to memorize as much of the text as possible, just as he once tried to fill a sieve with sand.

The sieve and the sand, therefore, act as a metaphor in the novel. The sand is comparable to the literature he wants to memorize and understand. Conversely, the sieve is like his mind, desperately trying to retain as much information as possible.

The sieve and the sand also represent Montag's struggle to find meaning and happiness in his life. Just as he struggled to fill the sieve, the novel charts Montag's struggle to overcome the fireman system and erase censorship from his society.

Sexuality in the monk.

The Monk: A Romance by Matthew Gregory Lewis was originally published in 1796. It was a typical novel of the “Gothic” genre, which was typified by dramatic, convoluted plots, horror, supernatural occurrences, and “damsels in distress.” One frequent element in the Gothic is a chaste, virtuous, noble (but often poor, powerless, or orphaned) young woman whose virginity is threatened by an evil, wealthy, powerful man.

In The Monk, sexuality is deeply intertwined with morality,...

The Monk: A Romance by Matthew Gregory Lewis was originally published in 1796. It was a typical novel of the “Gothic” genre, which was typified by dramatic, convoluted plots, horror, supernatural occurrences, and “damsels in distress.” One frequent element in the Gothic is a chaste, virtuous, noble (but often poor, powerless, or orphaned) young woman whose virginity is threatened by an evil, wealthy, powerful man.

In The Monk, sexuality is deeply intertwined with morality, with “good” women being chaste and immoral women being sexually predatory. Much of the novel revolves around dynamics of sexual control and morality, with virtuous women resisting inappropriate sexual advances, bad women displaying the vice of lust, and flawed but redeemable women partially yielding (albeit passively) to male sexuality—but themselves not actively soliciting sexual encounters.

Matilda is the evil woman and sexual temptress of the novel. She has quasi-magical powers, seduces the monk Ambrosio, and eventually is fully allied with Satan. From the moment she enters the monastery in male disguise as Rosario, she is portrayed as breaking the boundaries of sexual and gender conventions. The initial attraction of Ambrosio to Rosario flirts with themes of homosexuality. When Rosario is revealed as Matilda, her character continues to break conventions, such as the masculine exclusivity of the monastery and the role of women as subordinate and passive in sexual matters.

Agnes is a typical Gothic heroine and is in love with Don Raymond. Although she transgresses conventional sexual morality of the period by allowing herself to be seduced by her lover, she is redeemable in so far as they were planning to be married before she was shipped off to the convent. Within the plot, she is purified through extensive punishment and imprisonment and the death of her baby. This and her loyalty to her lover allow her to become a “good woman.” She is happily married at the conclusion of the novel without violating the audience’s beliefs about the immorality of fornication.

Antonia and Virginia are both also traditionally “good” women in so far as they are sexually pure. Virginia is a virgin, and Antonia only loses her virginity because of rape. In all cases, the religious setting of most of the novel emphasizes the link between religious morality and sexual control, with the convent and monastery serving as an apparent locus of both.

The trope of monasteries and convents as hotbeds of sexual immorality hidden under a pious exterior was a common element of English Protestant literature, which was often strongly anti-Catholic in this period.

How is the priest in A Farewell to Arms a code hero?

A code hero, or a Hemingway hero, is an archetypal character that crops up regularly in Hemingway's work. Even people who have never actually read any Hemingway have a good idea of what his stock hero is like. He is the man's man; he is a hard-drinking macho guy who throws himself headlong into dangerous, manly pursuits like big game hunting and marlin fishing. He is a lover of wine and women, enjoying every last nanosecond of this mortal life without thought for tomorrow. Death is an omnipresent concern, but he shows manly courage in the face of it, as he helps himself to another shot of bourbon.

The Hemingway hero is a code hero in that he lives by his own moral code, a moral choice that helps him deal with the bleakness of existence. However, a man's code is not some abstract theory that he devised in his leisure hours; it is something he does, an essential feature of how he lives his life. A code hero is a man of action, not a thinker.

On the face of it, it would appear that the priest in A Farewell To Arms does not fit into the category of a Hemingway code hero. He is certainly no macho man. The other guys in Henry's unit rib him mercilessly about his celibacy. Additionally, it is highly unlikely that he has ever bagged a raging bull elephant or caught a marlin. Throw in a devout Christian faith, and it is not looking too good.

Yet, in his own unique way, the priest does share some characteristics of a code hero. For one thing, he lives by a code of ethics. Inevitably, that code is strongly influenced by his Christian faith, as we would expect. However, the priest does not simply parrot the old nostrums or dispense glib homilies. The reason why Harry comes to respect him so much is that he knows the priest has made his own existential choice. In showing a commitment to God, he demonstrates that he is not trying to escape the world. He has put himself on the front line as much as any soldier. It is here, in the face of death and devastation, that his own moral code has been forged. Not only does this earn him Henry's abiding respect, it also gives his words of advice added strength and wisdom, which allows Henry to gain important insights into the meaning of his life.

What is the climax of "Once upon a Time" by Nadine Gordimer?

When we think about the climax of a story, we can think of it in two different ways. First, we can think of it as the turning point where the main character makes a decision and/ or takes an action that sets up the resolution of the conflict, for good or for ill. Second, we can think of it as the high point of the story's action where the reader experiences the most tension, after...

When we think about the climax of a story, we can think of it in two different ways. First, we can think of it as the turning point where the main character makes a decision and/ or takes an action that sets up the resolution of the conflict, for good or for ill. Second, we can think of it as the high point of the story's action where the reader experiences the most tension, after which the tension subsides as the story's action falls.

In "Once Upon a Time," the climax according to the first approach occurs in the penultimate paragraph when the family installs the "razor-bladed coils" atop the walls around their house. This is the decision that finally resolves their fears so they can stop worrying about invaders. Until this point, the statement "You're right" often precedes the family's next effort to improve their security. Now, the statement "You're wrong" appears, signalling a change. This coil will never rust; even the cat doesn't try to get through anymore. Yet this success in achieving their security sets up the resolution of their conflict—they have kept outsiders away but lose their son as a result.

The second approach of identifying a climax leads readers to the final paragraph where the little boy gets caught up in the razor-bladed coils. When he "screamed and struggled deeper into its tangle," the high point of tension in the story is reached. Now the threat to life and limb that the family has feared comes about, albeit not in the way they feared. They have inadvertently caused the destruction of their most prized "possession," their son, through their efforts to keep away what they feared. 

Thus, readers can think of either the family's installation of the coil atop the wall or the little boy's getting caught in the coil as the climax of the story.

What are the possessive pronouns in Spanish?

Although possessive pronouns are not used in precisely the same way in Spanish as they are in English, the examples below are roughly equivalent.

Mine: mío, mía, míos, mías 

Example: No me gustan los pollos amarillos. El mío es rojo. (I don't like yellow chickens. Mine is red.)

Yours (singular informal): tuyo, tuya, tuyos, tuyas

Example: ¿Dónde está mi lapiz rojo? La tuya está aquí. (Where is my red pencil? Yours is here.)

His, hers, yours (singular formal or plural formal), its, theirs:

suyo, suya,...

Although possessive pronouns are not used in precisely the same way in Spanish as they are in English, the examples below are roughly equivalent.

Mine: mío, mía, míos, mías 

Example: No me gustan los pollos amarillos. El mío es rojo. (I don't like yellow chickens. Mine is red.)

Yours (singular informal): tuyo, tuya, tuyos, tuyas

Example: ¿Dónde está mi lapiz rojo? La tuya está aquí. (Where is my red pencil? Yours is here.)

His, hers, yours (singular formal or plural formal), its, theirs:

suyo, suya, suyos, suyas

Example:  Mis pantalones son blancas. Los suyos son rojos. (My pants are white. His/hers/yours/theirs are red.)

Ours: nuestro, nuestra, nuestros, nuestras

Example: ¿Te gusta tu coche? No me gusta la nuestra. (Do you like your car? I don't like ours.)

Yours (plural informal): vuestro, vuestra, vuestros, vuestras 

Example: Vuestra casa es muy bonita y grande. (Your house is very pretty and large.) 

As shown in the examples, Spanish possessive pronouns are often preceded by definite articles el, la, los, or las (the English definite article is "the").

When do the boys go to Windrixville?

The boys skip town and travel to Windrixville immediately following the murder of Bob Sheldon. Toward the end of chapter 4, Ponyboy and Johnny visit Dally at Buck Merril's place, and he gives them clothes, money, and directions to get to Windrixville. Pony and Johnny then sneak into an open boxcar on a moving train, which takes them to Windrixville. Ponyboy then asks for directions to Jay Mountain, and the boys end up walking...

The boys skip town and travel to Windrixville immediately following the murder of Bob Sheldon. Toward the end of chapter 4, Ponyboy and Johnny visit Dally at Buck Merril's place, and he gives them clothes, money, and directions to get to Windrixville. Pony and Johnny then sneak into an open boxcar on a moving train, which takes them to Windrixville. Ponyboy then asks for directions to Jay Mountain, and the boys end up walking to the abandoned church on the top of the hill. Ponyboy and Johnny hide out in the abandoned church and hope that things cool down in their hometown. As the boys spend time together hiding in the abandoned church, Ponyboy and Johnny become close friends and get to know each other on a personal level. When Dally comes to visit, they return from eating at Dairy Queen to discover that the abandoned church is on fire. 

A process strategy is an organization’s approach to transforming resources into goods and services. Which process strategy would a hospital...

Process strategy involves figuring out the most efficient way to produce a good or deliver a service so that processes do not need to be outsourced and so that quality assurance is maximized. There are four types of process strategies: process focus; repetitive focus; product focus; and mass customization.

A hospital needs to implement the process strategy of process focus, which involves producing low-volume services that involve a high degree of variety. This type of process strategy permits a business to use flexible strategies to produce different kinds of services and to concentrate on the processes that are essential to a business. For example, a hospital would concentrate on the processes of patient care and patient outcomes, as these processes and everything that goes into them (including nursing, physician care, pharmacy care, nutrition, etc.) are essential to the core business of the hospital. 

Repetitive focus involves the mass production of goods and services through repetitive processes. A hospital uses these types of functions, such as in food production, but they are not as essential to the hospital as the special functions it provides in giving medical care. 

Product focus involves producing high volumes of a particular product without a great deal of variety or flexibility. This is not usually the focus of a hospital, unless it is a specialized hospital that focuses on one area, such as surgery, as most hospitals offer a variety of types of medical care.

Mass customization, which is the most complicated type of process strategy, involves using up the resources of the organization to suit the needs of its customers on a constantly changing basis. A hospital must also use this strategy at times, as the hospital must deliver what the patient wants when he or she wants it. For example, different patients will require different types of medical or other interventions depending on their needs. One person in a community hospital might need diabetes care, while another might need a knee replacement surgery. The hospital must customize its services for each patient. 

Why have Frankenstein's creature and Frankenstein had such a strong hold on our imagination for nearly 200 years?

One reason Frankensteinand Frankenstein's creature have had such a hold over us for two centuries is because many people can relate to this creature. He is alienated from society, judged and scorned, an outsider, and an outcast. It would be difficult, I think, to find a person who has never felt this way (though, perhaps, to a lesser extent). Further, the fact that the creature justifiably blames his father, Victor, for many of his...

One reason Frankenstein and Frankenstein's creature have had such a hold over us for two centuries is because many people can relate to this creature. He is alienated from society, judged and scorned, an outsider, and an outcast. It would be difficult, I think, to find a person who has never felt this way (though, perhaps, to a lesser extent). Further, the fact that the creature justifiably blames his father, Victor, for many of his problems may be easy to relate to for many readers as well. 

Another possible reason for this story's continued relevance to us has to do with the questions of scientific ethics that it raises. Is Victor right to try to create life in this way? Is he trying to "play God"? Should that stop him? Even now, people talk about creating "designer babies" whose physical traits (such as sex, eye color, and hair color) are chosen specifically to please their parents. Is there an ethical dilemma to these kinds of choices? Where is the line? Just because science can do something, does that mean it should do it? What is our responsibility to a baby who doesn't turn out exactly the way we think it will? Even 200 years later, we still struggle with the same kinds of ethical quandaries Shelley appears to have been ruminating on.

How would you address your colleagues at a youth club meeting you will be chairing differently than you would speak to your friends during a tea...

The core differences in your speech are determined by who your audience is and the genre of the venue. Let's start with audience. The question states that the youth group gathering is colleagues. Because the youth meeting is among colleagues, it sounds more business-related. Your word choice and non-verbal communication should reflect that. You are likely to use jargon, but not slang. Jargon is technical language that your audience will understand. Your body language will...

The core differences in your speech are determined by who your audience is and the genre of the venue. Let's start with audience. The question states that the youth group gathering is colleagues. Because the youth meeting is among colleagues, it sounds more business-related. Your word choice and non-verbal communication should reflect that. You are likely to use jargon, but not slang. Jargon is technical language that your audience will understand. Your body language will also show a more formal attitude. Likely, your body language will be much more subdued than if you were talking to friends. Next is the venue difference. You are chairing a formal business meeting, which means the majority of your remarks will have been planned before the meeting. Your job is to guide things along and keep the meeting on track. Your colleagues will talk, and you have a responsibility to hear them out without interruption. All in all, the way you address your colleagues will be much more formal than when speaking with friends.

The meeting among friends will be very different. You will likely not be able to use jargon, because the terms might draw blank stares. You will, however, be able to use slang, incomplete sentences, and animated body language. The conversation might even be subject to interruptions and teasing. Those two things likely would not happen at the other meeting. Your friends also won't expect anyone to have come to the gathering with prepared remarks.

What was that cause for which they gave the last full measure of devotion? Do you think all of the soliders who died fighting for the same cause?

If you are referring to Abraham Lincoln's words in The Gettysburg Address, it's important to remember why he gave the speech to understand the words "they gave the last full measure of devotion."

The purpose of Lincoln's brief but memorable speech was two-fold: to dedicate a cemetery for Union soldiers killed in the battles of the Civil War, but also to remind the country that the work of reunifying the United States was the...

If you are referring to Abraham Lincoln's words in The Gettysburg Address, it's important to remember why he gave the speech to understand the words "they gave the last full measure of devotion."

The purpose of Lincoln's brief but memorable speech was two-fold: to dedicate a cemetery for Union soldiers killed in the battles of the Civil War, but also to remind the country that the work of reunifying the United States was the ultimate goal. In Lincoln's mind, the Union soldiers who gave their lives ("the last full measure of devotion") were trying to restore what the founding fathers had created with the American Revolution: a united country of states, a democratic republic that replaced British colonies.

It is impossible to know what was in the minds of all Civil War soldiers, but at least nominally, by choosing a side, soldiers were either fighting for the reunification of the country or for the continuation of the secession of the Confederate states.

How does the relationship among Agatha, Felix and their father compare with the relationship between Victor, Elizabeth, and Victor's father?

Both the DeLacey and the Frankenstein families are close, loving families, although Felix and Agatha are much more devoted to their father and each other than is Victor Frankenstein to his family.

Initially, in Chapter 1 of Shelley's novel, narration about the Frankenstein family describes them as in relationships that involve the one cared for and the caretaker. For instance, Alphonse Frankenstein comes "like a protecting spirit" to the rescue of Caroline Beaufort who has been orphaned by the death of her father, a true friend of the senior Frankenstein. Further, Caroline Frankenstein rescues Elizabeth Lavenza, saving her from a life of poverty, and she is received by Victor as though she is a cousin. There is love in this family; as Victor tells Walton, "Everyone loved Elizabeth."

Similarly, the DeLacey family, although having fallen upon misfortune, are a loving, caring family. The children of M. Delacey, a man who has lost his affluent social position in France and is now blind, are extremely respectful and devoted to him, and care for him as best they can; for instance, they go without food so that their father can eat, and they do what they can to cheer him and protect him. For example, when the creature enters the cottage in their absence, hoping to have human contact by speaking to M. DeLacey, they attack the creature upon their return and chase him out of the cottage, fearing that he means harm to their father.

Whereas the DeLaceys seem of all one mind, there is, however, diversity in the thinking of Victor, Elizabeth, and Alphonse Frankenstein. For one thing, a young Victor becomes greatly taken with the writings of Cornelius Agrippa, but his father tells him not to waste his time reading these writings: "...it is sad trash." Later, he rejects Agrippa, but he involves himself in yet another aspect of science of which his father would not approve as he commences upon the creation of a living being.

Of course, unlike Agatha and Felix DeLacey, Victor Frankenstein possesses a selfish pride that keeps him from preventing the death of his brother William and his cousin Elizabeth. Nor does he admit to his responsibility for these tragedies. He also does nothing to prevent Justine's condemnation, and he later places Elizabeth's life in danger by marrying her. Believing that the creature intends to kill him for having destroyed the female creature no matter what he does, Victor decides to have what little joy he can before his inevitable death. "Well, be it so," he says, and he marries Elizabeth. Unfortunately, this selfish attempt to attain some happiness results in not his death, but that of Elizabeth.

Certainly, then, the simple, loving relationships in the DeLacey family differ from the loving relationships of the Frankenstein family that become tragic because of the selfish interests of Victor.

What is the conflict in "The Bass, the River, and Sheila Mant"?

W. D. Weatherell's short story "The Bass, the River, and Sheila Mant" is about a fourteen-year-old boy who develops a crush on a seventeen-year-old girl named Sheila Mant. 

Sheila is clearly out of his league. She is older, beautiful, and has captured the attention of an Ivy League rowing team. This causes an internal conflict on the part of the narrator. Should he ask her out? Here's how he describes his feelings about that conflict:

...

W. D. Weatherell's short story "The Bass, the River, and Sheila Mant" is about a fourteen-year-old boy who develops a crush on a seventeen-year-old girl named Sheila Mant. 

Sheila is clearly out of his league. She is older, beautiful, and has captured the attention of an Ivy League rowing team. This causes an internal conflict on the part of the narrator. Should he ask her out? Here's how he describes his feelings about that conflict:

It was late August by the time I got up the nerve to ask her out. The tortured will-I's, won't I's, the agonized indecision over what to say, the false starts toward her house and the embarrassed retreats--the details of these have been seared from my memory.

Another internal conflict develops later as the narrator must choose between Sheila and the magnificent bass he secretly caught while on the date. He chooses Sheila, a decision he will soon regret.

You would expect to see an external conflict between Sheila and the narrator, since their date wasn't particularly successful. But Weatherell isn't as interested in the conflict between them as he is in the conflict that takes place inside the narrator. When Sheila goes home with another guy in his Corvette, the narrator doesn't object.

Weatherell resolves the internal conflict in the story's final paragraph, as the narrator comes to a personal realization:

Before the month was over, the spell she cast over me was gone, but the memory of that lost bass haunted me all summer and haunts me still. There would be other Sheila Mants in my life, other fish, and though I came close once or twice, it was these secret, hidden tuggings in the night that claimed me, and I never made the same mistake again.

Why does Rolf stop reporting, put his camera down, and just stay with Azucena toward the end of the story?

Rolf puts his camera down, stops reporting, and just stays with Azucena towards the end of the story because he knows that he can do no more for the little girl. Essentially, by this point of the story, Rolf has come to accept the inevitable and that, bar some miracle, Azucena will die.

Since no one has been able to procure the pump that might possibly save Azucena's life, the little girl must be made...

Rolf puts his camera down, stops reporting, and just stays with Azucena towards the end of the story because he knows that he can do no more for the little girl. Essentially, by this point of the story, Rolf has come to accept the inevitable and that, bar some miracle, Azucena will die.

Since no one has been able to procure the pump that might possibly save Azucena's life, the little girl must be made as comfortable as possible in the last moments of her life. Rolf chooses to stop reporting and to concentrate all his efforts on providing her the emotional support she needs to face death. So, when Azucena laments that no boy has ever loved her, Rolf comforts her with the assertion that he loves her more than he loves his own mother, sister, lover, and any other woman who has slept in his arms.

Rolf stays with Azucena all throughout her last moments, and when she dies, he closes her eyelids, hugs her to his chest briefly, and then lets her sink down into the mud. Throughout the whole ordeal, Rolf prays that death will come quickly for Azucena, as "such pain cannot be borne" indefinitely. Azucena dies with Rolf by her side, as her friend and ally. 

What is Miss Strangeworth's reputation in town?

Miss Strangeworth has a very good reputation in town. She's seen as a kindly, harmless little old lady. She often stops to talk to people in the street on her daily rounds, dispensing advice and generally making pleasant conversation. No one would ever suspect just how vicious and nasty she really is. After all, she's lived in the town longer than just about everyone else; her father was one of the first people to build...

Miss Strangeworth has a very good reputation in town. She's seen as a kindly, harmless little old lady. She often stops to talk to people in the street on her daily rounds, dispensing advice and generally making pleasant conversation. No one would ever suspect just how vicious and nasty she really is. After all, she's lived in the town longer than just about everyone else; her father was one of the first people to build a house in the street where she lives. And she's always seemed to care very deeply about the town and its inhabitants. Miss Strangeworth is a local institution.

The problem, however, is that Miss Strangeworth has become, in her own mind at least, the unofficial guardian of the town's stability and moral purity. This is her town, and she thinks that gives her the right to tell other people how to live their lives. And when she sits down in her quiet little study to write those nasty poison-pen letters, she genuinely thinks she's doing the town an important public service. 

What is 60 Earth Hour? Is it a good idea? Considering all of the global turmoil going on right now, are you surprised at the reach this movement...

Earth Hour is an international movement whose main aim is to advocate for action on climate change. It is coordinated by the World Wide Fund for Nature, an international non-governmental organization concerned with environmental conservation work. Its website details that it is a non-profit organization that is based in Singapore and whose mission involves “uniting people to protect the planet.” It first started out as a “lights off” event in Sydney, Australia, in 2007, and...

Earth Hour is an international movement whose main aim is to advocate for action on climate change. It is coordinated by the World Wide Fund for Nature, an international non-governmental organization concerned with environmental conservation work. Its website details that it is a non-profit organization that is based in Singapore and whose mission involves “uniting people to protect the planet.” It first started out as a “lights off” event in Sydney, Australia, in 2007, and it has since expanded to over 172 countries situated in various regions of the world. A core component of its advocacy is to encourage people to turn off their lights for a period of one hour between 8:30 pm and 9:30 pm on a given day in the month of March every year.

I think you could make a good case that the 60 Earth Hour initiative is a good way of drawing attention to climate change, an issue of major concern to people globally. Though turning off lights for an hour may have negligible effects on energy consumption levels, the very action encourages dialogue on the need to reduce energy consumption and pushes people to commit to behavior that achieves this goal beyond the hour. It helps to sensitize people to the need for energy conservation: What is to be achieved from an hour of darkness? A Google search for this question yields answers that point to the connection between our energy use and the environment. One realizes that when they use less energy, they reduce the quantity of toxic fumes emitted by power plants and conserve natural resources.

According to Earth Hour’s website, the 2017 event was commemorated in 187 countries, where more than 3000 landmarks and monuments turned off their lights. Clearly, the Earth Hour movement has managed to reach a large number of people since its inception. The movement’s mission is an issue that touches the lives of many people across the globe. Most of us have experienced the effects of climate change in the form of long droughts, heat waves, and rising sea levels. As such, Earth Hour’s message resonates with many people. Also, technology has perhaps helped the organization to push its message more quickly across the globe.

'Quality' by John Galsworthy is indeed the story of Mr. Gessler's triumph over crushing adversities. Discuss.

Mr. Gessler is a German shoemaker who makes quality boots in London around the turn of the twentieth century. He buys the best leather and handcrafts the boots himself. But he can't make ends meet. Competitors advertise, which the Gesslers do not. People buy the lower-quality boots from other sellers, who more aggressively market. Mr. Gessler, however, refuses to compromise. He makes his boots the old-fashioned, high-quality way. He slowly starves to death, works night and day, and sometimes goes without a fire.

These are crushing adversities, and in the end, they kill Mr. Gessler. However, he triumphs in that he never compromises quality. His craft comes before his profit. He holds onto his integrity by doing his work in the old-fashioned way, the best way.

The story can be understood in the context of William Morris and the Arts and Crafts movement. Morris argued in favor of craftsmen. As factory-made goods displaced what was handcrafted, workers became alienated from their work. After all, rather than handcrafting items, they were simply running the machines that made them—but advertising allowed these inferior products to sell. This story criticizes a society that puts hype and profit ahead of quality workmanship. It implies that better supports were needed for people like Mr. Gessler, if only in the form of people noticing and buying from him, and mourns the passing of such craftsmen.

`int x / sqrt(9 + 8x^2 - x^4) dx` Find or evaluate the integral by completing the square

Recall  that` int f(x) dx = F(x) +C` where:

f(x) as the integrand function

F(x) as the antiderivative of f(x)

C as the constant of integration..

 For the given problem, the integral: `int x/sqrt(9+8x^2-x^4)dx`

does not yet resemble any formula from table of integrals.

To evaluate this, we are to apply u-substitution by letting:

`u = x^2` then `u^2 = x^4`  and  `du = 2x dx `  or `(du)/2 = x dx` .

Then the integral becomes:

`int x/sqrt(9+8x^2-x^4)dx =int x dx/sqrt(9+8x^2-x^4)`

                                      `=int ((du)/2)/sqrt(9+8u-u^4)`

Apply the  basic  property of integration: `int c f(x) dx = c int f(x) dx` to factor out ` 1/2` .

`int ((du)/2)/sqrt(9+8u-u^4) = 1/2int (du)/sqrt(9+8u-u^4)`

 The integral does not yet resembles any integration formula.

For further step, we apply  completing the square on the part: `9+8u-u^2` .

Completing the square:

Factoring out -1 from `9+8u-u^2` becomes: `(-1)(-9-8u^2 +u^2)` or `-(u^2 -8u-9)` .

`u^2 -8u-9` resembles `ax^2 +bx+c ` where:

`a=1` ,` b= -8` and `c=9` .

To complete the square we add and subtract `(-b/(2a))^2` .

Plug-in the value of `a=1` and `b=-8` in  `(-b/(2a))^2` :

`(-b/(2a))^2 =(-(-8)/(2*1))^2`

             `=(8/2)^2`

             ` =4^2`

             ` =16.`

Adding and subtracting -16 inside the ():

`-(u^2 -8u-9) =-(u^2 -8u-9+16-16)`

 To move out "-9" and "-16" outside the (), we distribute the negative sign or (-1).

` -(u^2 -8u-9+16-16) =-(u^2 -8u-9+16) +(-1)(-9)+ (-1)(-16) `  

                                         `=-(u^2 -8u-9+16) +9+ 16`

                                         `=-(u^2 -8u-9+16) +25`

Factor out the perfect square trinomial: `u^2 -8u+16 = (u-4)^2`

`-(u^2 -8u+16) + 16 = -(u-4)^2+25`

Then it shows that `9+8u-u^4 =-(u-4)^2+25`

                                               `=25-(u-4)^2 `

                                                ` = 5^2 -(u-4)^2`

Then,

`1/2 int (du)/sqrt(9+8u-u^4)= 1/2int (du)/sqrt(5^2-(u-4)^2)`

 The integral part resembles the basic integration formula for inverse sine function:

`int (du)/sqrt(a^2-u^2)= arcsin(u/a)+C`

Applying the formula, we get:

`1/2int (du)/sqrt(5^2-(u-4)^2) =1/2 arcsin ((u-4)/5) +C`

Plug-in `u =x^2`  for the final answer:

`int x/sqrt(9+8x^2-x^4)dx =1/2 arcsin ((x^2-4)/5) +C` 

What is the central conflict of "Just Lather, That's All"? Is it external or internal? Is it a dilemma?

In "Just Lather, That's All," the central conflict is internal because it involves the barber and his dilemmaover whether to kill Captain Torres. On the one hand, he wants to kill the Captain because he is a violent and brutish man. For example, the Captain describes the public hanging of four men as a "fine show." Moreover, the barber and the Captain are members of two opposing factions and, for the barber, this is...

In "Just Lather, That's All," the central conflict is internal because it involves the barber and his dilemma over whether to kill Captain Torres. On the one hand, he wants to kill the Captain because he is a violent and brutish man. For example, the Captain describes the public hanging of four men as a "fine show." Moreover, the barber and the Captain are members of two opposing factions and, for the barber, this is a rare opportunity to kill his enemy.

On the other hand, though, the barber has no such thirst for violence. In fact, he is opposed to the very idea of committing murder:

"No one deserves to have someone else make the sacrifice of becoming a murderer."

While the barber eventually decides against killing the Captain, it is this internal dilemma which drives the plot of the story.

Describe the characters of Sam Patch, the Famous Jumper.

The first character, of course, is Sam Patch himself.  Sam Patch grew up in an impoverished town in Rhode Island.  His fate, as an uneducated boy born into poverty, would be to work in a mill. However, his daredevil nature showed itself early on.  He and a group of boys, known as the Pawtucket Boys (after the town they grew up in), would perform risky jumps over Pawtucket Falls:

 “The Pawtucket boys,” Johnson writes, “all...

The first character, of course, is Sam Patch himself.  Sam Patch grew up in an impoverished town in Rhode Island.  His fate, as an uneducated boy born into poverty, would be to work in a mill. However, his daredevil nature showed itself early on.  He and a group of boys, known as the Pawtucket Boys (after the town they grew up in), would perform risky jumps over Pawtucket Falls:

 “The Pawtucket boys,” Johnson writes, “all jumped in the same way: feet first, breathing in as they fell; they stayed underwater long enough to frighten spectators, then shot triumphantly to the surface." 

Another character Sam Patch came across was Timothy Crane.  Crane was an entrepreneur who was building a bridge over the falls, which would cut through Sam Patch's jumping "playground."  Crane's "moment in the sun" was interrupted by Patch's jump over the falls.  Since Crane's bridge would create an area only available to the wealthy, Patch became a working-class hero. Crane, it seems, inadvertently catapulted Patch to fame.

However, Patch fell into obscurity following his death, as he was often drunk (which probably led to his death).

What is Freud’s theory of Personality Development, and is it still relevant today?

Freud thought that personality developed during one's childhood. This occurred as a child moved through five stages, which he called "psychosexual stages" of development. The stages—oral, anal, phallic, latent, and genital—each involved the ability to satisfy particular needs associated with a certain part of the body.

Because unlimited satisfaction of desires is not conducive to a well-adjusted life, Freud argued that the id, which pursued desire in an animalistic way, had to be controlled by...

Freud thought that personality developed during one's childhood. This occurred as a child moved through five stages, which he called "psychosexual stages" of development. The stages—oral, anal, phallic, latent, and genital—each involved the ability to satisfy particular needs associated with a certain part of the body.

Because unlimited satisfaction of desires is not conducive to a well-adjusted life, Freud argued that the id, which pursued desire in an animalistic way, had to be controlled by the ego and superego. The extent to which these different parts of one's personality developed determined how well-adjusted a person was. Progression through each stage involved a conflict that had to be resolved in order to develop in a healthy way, and mental illness, such as it was understood, resulted from the failure to resolve these conflicts. For a boy, resolving the strong feelings of attachment to one's mother, for example, was believed to be very important to growth and development. The resolution to the conflict that this entailed was for the boy to emulate his father's masculine behaviors. 

As for the relevance of Freud's theory, most of it has been supplanted by subsequent research and theory. Freud's assumptions about gender, in particular, were very much a product of his own time, and do not represent the conclusions of modern science. But his theory continues to provide a valid framework upon which subsequent research into psychological development has been based.

In the second stanza, what does the narrator tell us should never be forgotten?

In the second stanza, the speaker first tells us that it is important "never to forget / The essential delight of the blood drawn from ageless springs / Breaking through rocks in worlds before our earth" (lines 9-11).  To me, it sounds as though the speaker is celebrating the miracle of our continued life: each of us has blood drawn from ageless springs; it is difficult to fathom humanity's beginning or end.

Then, he cautions...

In the second stanza, the speaker first tells us that it is important "never to forget / The essential delight of the blood drawn from ageless springs / Breaking through rocks in worlds before our earth" (lines 9-11).  To me, it sounds as though the speaker is celebrating the miracle of our continued life: each of us has blood drawn from ageless springs; it is difficult to fathom humanity's beginning or end.

Then, he cautions us "Never to deny [by forgetting] its pleasure in the morning simple light / Nor its grave evening demand for love" (12-13).  The word "its" seems to refer back to the "delight of the blood" from the sentence before, so this seems to suggest that we should also not forget the pleasure of the blood in the simple morning light.  This makes me think of the peaceful feeling one might get in the morning while watching the shafts of golden sunlight enter through one's window.  Further, just as we should not forget the pleasure we feel in the morning light, we should also remember how seriously at night we long for love.  There is a certain necessity to each of these feelings.

Finally, forgetting these feelings would "allow gradually the traffic to smother / With noise and fog, the flowering of the spirit" (14-15).  If we forget the beauty of being alive, our spirit will not be able to flower. It will have been smothered by all the "noise and fog" that allow each of us to forget.

In Richard Connell’s short story “The Most Dangerous Game,” does Zaroff give a fair chance to his human opponents?

On his remote island off the coast of South America the sociopathic General Zaroff hunts men for sport. He has grown tired of hunting animals because he has grown too expert in his chosen passion so he hunts men who become stranded on the island, which has the nickname "Ship-Trap." After revealing his diabolical pastime to Rainsford during their dinner conversation, Zaroff notes that the men he hunts are treated quite well before they are...

On his remote island off the coast of South America the sociopathic General Zaroff hunts men for sport. He has grown tired of hunting animals because he has grown too expert in his chosen passion so he hunts men who become stranded on the island, which has the nickname "Ship-Trap." After revealing his diabolical pastime to Rainsford during their dinner conversation, Zaroff notes that the men he hunts are treated quite well before they are released into the jungle:

"I treat these visitors with every consideration. They get plenty of good food and exercise. They get into splendid physical condition."

Along with this the general provides them with food, a good hunting knife, and gives them a three hours' head start before releasing them. Afterward he sets off after them with "a pistol of the smallest caliber and range." It could then be argued that Zaroff does indeed give them somewhat of a fair chance. Of course, a really fair chance would involve also giving them the same type of pistol which he carries and a map of the island. The general, however, is quite uncanny in his abilities and even Rainsford, a seasoned hunter himself, has difficulty eluding Zaroff. The general also has the aid of trained tracking dogs if his prey is particularly skilled, as Rainsford proves to be. Ultimately, it takes a daring leap into the sea for Rainsford to avoid death at the general's hands. With this in mind, it is evident that Zaroff has too many advantages for the game to be considered fair.

`sum_(n=2)^oo ln(n)/n^3` Confirm that the Integral Test can be applied to the series. Then use the Integral Test to determine the convergence...

The integral test is applicable if `f` is positive and decreasing function on infinite interval `[k, oo) ` where` kgt= 1` and `a_n=f(x)` . Then the series `sum_(n=k)^oo a_n ` converges if and only if the improper integral `int_k^oo f(x) dx ` converges. If the integral diverges then the series also diverges.

For the given series `sum_(n=2)^oo ln(n)/n^3` ,  `a_n =ln(n)/n^3` .

Then applying `a_n=f(x)` , we consider:

`f(x) =ln(x)/x^3`

The graph of f(x) is:

As shown on the graph, f is positive on the infinite interval `[1,oo)` . To verify of the function will eventually decreases on the given interval, we may consider the derivative of the function.

Apply Quotient rule for the derivative:` d/dx(u/v) = (u'* v- v'*u)/v^2` .

Let `u = ln(x)` then `u' = 1/x`

      `v = x^3` then `v' = 3x^2`

Applying the formula,we get:

`f'(x) = (1/x*x^3- 3x^2*ln(x))/(x^3)^2`

           `= (x^2-3x^2ln(x))/x^6`

           `=(1-3ln(x))/x^4`

Note that `1-3ln(x) lt0` for larger values of x which means `f'(x) lt0` .Based on the first derivative test, if ` f'(x) lt0` then `f(x)` is decreasing for a given interval I. This confirms that the function is ultimately decreasing as `x-> oo`. Therefore, we may apply the Integral test to confirm the convergence or divergence of the given series.

We may determine the convergence or divergence of the improper integral as:

`int_2^ooln(x)/x^3dx= lim_(t-gtoo)int_2^tln(x)/x^3dx`

To determine the indefinite integral of `int_2^tln(x)/x^3dx` , we may apply integration by parts:` int u dv = uv - int v du`

`u = ln(x) then du = 1/x dx.`

`dv = 1/x^3dx ` then `v= int 1/x^3dx = -1/(2x^2)`

Note: To determine` v` , apply Power rule for integration `int x^n dx = x^(n+1)/(n+1)`

`int 1/x^3dx =int x^(-3)dx`

                ` =x^(-3+1)/(-3+1)`

                 ` = x^(-2)/(-2)`

                ` = -1/(2x^2)`

The integral becomes: 

`int ln(x)/x^3dx=ln(x) (-1/(2x^2)) - int -1/(2x^2)*1/xdx`

                    ` = -ln(x)/(2x^2) - int -1/(2x^3)dx`

                    ` =-ln(x)/(2x^2) + 1/2 int 1/x^3dx`

                    ` =-ln(x)/(2x^2) + 1/2*(-1/(2x^2))`

                    ` = -ln(x)/(2x^2) -1/(4x^2)`

Apply definite integral formula: `F(x)|_a^b = F(b) - F(a)` .

`-ln(x)/(2x^2) -1/(4x^2)|_2^t=[-ln(t)/(2t^2) -1/(4t^2)] -[-ln(2)/(2*2^2) -1/(4*2^2)]`

                           `= [-ln(t)/(2t^2) -1/(4t^2)]-[-ln(2)/8 -1/16]`

                           `=-ln(t)/(2t^2) -1/(4t^2) + ln(2)/8 + 1/16`

                          `=-ln(t)/(2t^2) -1/(4t^2) +1/16 (ln(4) +1)`

Note:`ln(2)/8 + 1/16 = 1/16 (2ln(2) +1)`

                          ` =1/16 (ln(2^2) +1)`

                         ` =1/16 (ln(4) +1)`

 Apply  `int_2^tln(x)/x^3dx=-ln(t)/(2t^2) -1/(4t^2) +1/16 (ln(4) +1)` , we get:

`lim_(t-gtoo)int_2^tln(x)/x^3dx=lim_(t-gtoo) [ -ln(t)/(2t^2) -1/(4t^2) + 1/16(ln(4)+1)]`

                                 ` = -0 -0+1/16(ln(4)+1)`

                                 ` =1/16(ln(4)+1)`

  Note: `lim_(t-gtoo) 1/16(ln(4)+1)=1/16(ln(4)+1)`

           `lim_(t-gtoo) 1/(4t^2)= 1/oo or 0`

            li`m_(t-gtoo) ln(t)/(2t^2)=[lim_(t-gtoo) -ln(t)]/[lim_(t-gtoo) 2t^2]=-oo/oo`

Apply L' Hospitals rule:

`lim_(t-gtoo) ln(t)/(2t^2) =lim_(t-gtoo) (1/t)/(4t)`

                     `=lim_(t-gtoo) 1/(4t^2)`

                     `= 1/oo or 0`

The  `lim_(t-gtoo)int_2^tln(x)/x^3dx=1/16 (ln(4) +1)` implies that the integral converges.

Conclusion: The integral `int_2^ooln(x)/x^3dx`   is convergent therefore the series `sum_(n=2)^ooln(n)/n^3` must also be convergent. 

In what way does Kathrine Mansfield use language, structure, and imagery to generate effect and significance in "Prelude" (specifically with regard...

Katherine Mansfield's short story "Prelude" was published in one of the writer's short story collections in 1920. But that wasn't the story's first publication: in 1918, it was released under a different title with Virginia and Leonard Woolf's Hogarth Press. The title was "The Aloe."

The original title hints at the significance of the aloe plant in this narrative. The aloe, covered with thorns, is a central symbol. 

First, let's establish a bit of context for this plant. "Prelude' is about a family moving from one house to another, and the experience that four central female characters (Linda, the lady of the house; Beryl, her unmarried sister; Mrs. Fairfield, the sisters' elderly mother; and Kezia, Linda's young daughter) have during this transition. The house is spacious and beautiful, as are the gardens outside. There's an aloe plant there that's particularly interesting to some of the characters. Let's look at Kezia's initial interaction with the plant:

Nothing grew on the top except one huge plant with thick, grey-green, thorny leaves, and out of the middle there sprang up a tall stout stem. Some of the leaves of the plant were so old that they curled up in the air no longer; they turned back, they were split and broken; some of them lay flat and withered on the ground.

Whatever could it be? She had never seen anything like it before. She stood and stared. And then she saw her mother coming down the path.

"Mother, what is it?" asked Kezia.

Linda looked up at the fat swelling plant with its cruel leaves and fleshy stem. High above them, as though becalmed in the air, and yet holding so fast to the earth it grew from, it might have had claws instead of roots. The curving leaves seemed to be hiding something; the blind stem cut into the air as if no wind could ever shake it.

"That is an aloe, Kezia," said her mother.

"Does it ever have any flowers?"

"Yes, Kezia," and Linda smiled down at her, and half shut her eyes. "Once every hundred years."

Mansfield's language here, in the initial description of the aloe, is clipped and foreboding. Words and phrases like "thick," "thorny," "split and broken," and "flat and withered" seem ominous: what kind of foreshadowing might she be experimenting with here? (One of the themes of the story is the cycle of life, the passage of time, and the experience of several generations of women in the same family.) That the tree, to Linda, seems to have "claws instead of roots" only reinforces the idea that this tree is a symbol of danger or death.

Linda's language in the last sentence of this passage indicates both hope (yes, the aloe will flower) and melancholy (but only once every century.) It's worth noting that many literary critics and academics interpret that Linda is pregnant in this short story; that idea is only suggested, not explicitly stated.

Despite the dark initial encounter with the aloe, the same plant continues to fascinate Linda. Later, she's in the garden with her mother:

"I have been looking at the aloe," said Mrs. Fairfield. "I believe it is going to flower this year. Look at the top there. Are those buds, or is it only an effect of light?"

As they stood on the steps, the high grassy bank on which the aloe rested rose up like a wave, and the aloe seemed to ride upon it like a ship with the oars lifted. Bright moonlight hung upon the lifted oars like water, and on the green wave glittered the dew.

"Do you feel it, too," said Linda, and she spoke to her mother with the special voice that women use at night to each other as though they spoke in their sleep or from some hollow cave–"Don't you feel that it is coming towards us?"

She dreamed that she was caught up out of the cold water into the ship with the lifted oars and the budding mast. Now the oars fell striking quickly, quickly. They rowed far away over the top of the garden trees, the paddocks and the dark bush beyond. Ah, she heard herself cry: "Faster! Faster!" to those who were rowing.

How much more real this dream was than that they should go back to the house where the sleeping children lay and where Stanley and Beryl played cribbage.

"I believe those are buds," said she. "Let us go down into the garden, mother. I like that aloe. I like it more than anything here. And I am sure I shall remember it long after I've forgotten all the other things."

She put her hand on her mother's arm and they walked down the steps, round the island and on to the main drive that led to the front gates.

Looking at it from below she could see the long sharp thorns that edged the aloe leaves, and at the sight of them her heart grew hard. . . . She particularly liked the long sharp thorns. . . . Nobody would dare to come near the ship or to follow after.

"Not even my Newfoundland dog," thought she, "that I'm so fond of in the daytime."

Here, Mansfield uses imagery and structure to great effect. For reasons that we, as readers, can't quite understand yet, Linda is greatly intrigued by the aloe. She seems to find the plant both compelling and fear-inducing. There's contradiction in her experience of the plant ("I like that aloe" seems at odds with "her heart grow hard.")

Mansfield also plays with structure here, particularly with repetition. "Long sharp thorns" is a phrase she repeats twice in the same paragraph.

Also note the author's use of the ellipsis: it's as if her thoughts are not complete, as if she is trailing off while thinking about the aloe and what it signifies. There's some abiguity to Linda's complicated feelings about the plant, and we, as readers, are also left with questions about exactly what the aloe (and the story) means.

What is the theme of "To Autumn"?

Ostensibly, Keats's "To Autumn" is a paean of praise to this most inspirational of seasons. But, as is always the case with Keats, there is considerably more to this than meets the eye—a richer, more complex vision lurking beneath the opulent pleasures of nature, bursting to shine forth.

A recurring theme in Keats's odes is the fragility and transience of the natural world. And we encounter it once again here. Keats delights in providing us...

Ostensibly, Keats's "To Autumn" is a paean of praise to this most inspirational of seasons. But, as is always the case with Keats, there is considerably more to this than meets the eye—a richer, more complex vision lurking beneath the opulent pleasures of nature, bursting to shine forth.

A recurring theme in Keats's odes is the fragility and transience of the natural world. And we encounter it once again here. Keats delights in providing us with lush descriptions of this "season of mists and mellow fruitfulness," while at the same time recognizing that the season, like each one of us, must one day pass, no matter how beautiful it is. But this shouldn't cause worry; new life will emerge from the old in a never-ending cycle of death and rebirth:

And full-grown lambs loud bleat from hilly bourn; 

   Hedge-crickets sing; and now with treble soft 

   The red-breast whistles from a garden-croft

      And gathering swallows twitter in the skies.

The season is drawing to a close, but nature is blossoming into full maturity as it points toward the onset of winter. The lambs are now "full grown," and the swallows are starting to gather in the skies.

Nature is so remarkably fruitful in all its variety. At times, it threatens to overwhelm us with the sheer scale of its fecundity. Man is the junior partner here; in his relationship to nature it is the world of the animals, the clouds, and the sweet, luscious fruit that dominates. In the midst of this endless cycle of seasonal change, there is nothing we can do but stand and admire. We must simply sit back and, in our reverie, enjoy the joyous bounties of nature, our sadness at their passing tinged with a realization that they will one day return.

What are Patrick Henry's reasons for wanting to rebel against the British rule?

Patrick Henry's chief argument in the "Speech in the Virginia Convention" is that it would be futile for the Virginia Colony to try to negotiate any further with the British.  He reminds his audience that "we have been trying that for the last ten years."  Although the speech has many strong appeals to various emotions, Henry also very logically recites the strategies the colony has already tried: "We have petitioned; we have remonstrated; we have...

Patrick Henry's chief argument in the "Speech in the Virginia Convention" is that it would be futile for the Virginia Colony to try to negotiate any further with the British.  He reminds his audience that "we have been trying that for the last ten years."  Although the speech has many strong appeals to various emotions, Henry also very logically recites the strategies the colony has already tried: "We have petitioned; we have remonstrated; we have supplicated; we have prostrated ourselves before the throne, and have implored its interposition to arrest the tyrannical hands of the ministry and Parliament."  He then reminds his listeners what Britain's response has been: "Our petitions have been slighted; our remonstrances have produced additional violence and insult; our supplications have been disregarded; and we have been spurned, with contempt, from the foot of the throne."

Henry does not believe that there is any reason to think that the colony's relationship with Britain will improve.  Trade will continue to be restricted, taxes will be crippling, the threat of violence against the colony will be constant, and the colony will not have a voice in Parliament.  In Henry's view, the only way the desired changes will come is if the colony separates from Britain.  Henry is trying to convince his audience that the only way to achieve independence is through a declaration of war.  

In what ways are the Ewell children feral?

The Ewell children in To Kill a Mockingbird are feral because they live in filth and are unruly and uneducated.

The Ewell children are mostly taken care of by the oldest child, Mayella. Her father is a drunk who beats her and the other children. The property they live on is in a constant state of dirty, cluttered disrepair. Scout says that the Ewells go to the dump and bring things home, then leave those...

The Ewell children in To Kill a Mockingbird are feral because they live in filth and are unruly and uneducated.

The Ewell children are mostly taken care of by the oldest child, Mayella. Her father is a drunk who beats her and the other children. The property they live on is in a constant state of dirty, cluttered disrepair. Scout says that the Ewells go to the dump and bring things home, then leave those items—from old shoes to a discarded dentist's chair—on their property.

She says that people in town aren't sure how many Ewell children there are, indicating that some people say six and others nine. Scout says, "There were always several dirty-faced ones at the windows when anyone passed by." At the trial, she says that the children are often sick and some of them have something called ground-itch.

Scout is in class with Burris Ewell. On the first day, Miss Caroline tries to send him home to wash his hair after "a cootie" falls out of it. Scout describes him, thinking, "He was the filthiest human I had ever seen. His neck was dark gray, the backs of his hands were rusty, and his fingernails were black deep into the quick." When he leaves, he says he won't be back. He says he only comes to the first day of school every year, which is apparently what most of the Ewell children do.

What are some of the traditional ways to celebrate Kwanzaa?

Kwanzaa is traditionally celebrated after Christmas; it lasts from December 26 to January 1. Created by Maulana Karenga, a black activist, Kwanzaa is a festival derived from the civil rights movement, and it pays homage to the global African community. Kwanzaa is a composite of several African harvest traditions, and it celebrates seven principles (or Nguzo Saba): Umoja (Unity), Kuji-chagulia (Self-determination), Ujima (Collective Work and Responsibility), Ujamaa (Cooperative Economics), Nia (Purpose), Kuumba (Creativity), and...

Kwanzaa is traditionally celebrated after Christmas; it lasts from December 26 to January 1. Created by Maulana Karenga, a black activist, Kwanzaa is a festival derived from the civil rights movement, and it pays homage to the global African community. Kwanzaa is a composite of several African harvest traditions, and it celebrates seven principles (or Nguzo Saba): Umoja (Unity), Kuji-chagulia (Self-determination), Ujima (Collective Work and Responsibility), Ujamaa (Cooperative Economics), Nia (Purpose), Kuumba (Creativity), and Imani (Faith).

The above principles are celebrated in order during the seven-day festival. On each day, one of seven candles or Mishumaa Saba is lighted. Mishumaa Saba consists of three green candles, three red candles, and one black candle. On the first day of Kwanzaa (December 26), the black candle (symbolizing Umoja or unity) is lighted. As a rule, the Mishumaa Saba (seven candles) are placed in the kinara (candle holder), and the kinara is then placed on a mkeka (mat) that rests on top of an African tablecloth. The black candle is always placed in the center of the kinara.

On the right of the black candle, three green candles representing Ujima, Nia, and Imani are placed. On the left of the black candle, three red candles representing Kujichagulia, Ujamaa, and Kuumba are placed. The three colors are derived from the black nationalist flag that Marcus Garvey created. The kinara symbolizes the deep respect African families have for their ancestors. During Kwanzaa, some people visit nursing homes, elderly family members, or elderly friends to show their appreciation for the aged. Ears of corn or mihindi are also placed on the mkeka to represent fertility and the number of children in the family.

On the sixth day of Kwanzaa, many celebrants enjoy a karamu or feast. Many wear traditional African clothing to attend the karamu. During the feast, a Unity cup or kikombe cha umoja is used to perform a libation ritual. The libation (or tambiko) is usually juice, water, or wine; each person drinks from the cup as a sign of unity. After everyone has drunk, the last portion of the tambiko is poured out in the direction of the four winds to honor the ancestors. The dishes that are shared during the feast varies. Some families choose to enjoy Caribbean, South American, or traditional African diaspora dishes.

Menus can include Jollof rice, collard greens, Yassa chicken, beef and groundnut stew, and sweet potato biscuits. Here's an example of a Kwanzaa karamu menu: Kwanzaa feast.

On the seventh and last day of Kwanzaa, celebrants traditionally give gifts or zawadi to their friends and family members. Some gifts are homemade, in honor of the Kwanzaa principles of creativity, accomplishment, and self-determinism. Children are also given gifts to reward accomplishments and to promote future successes. In all, these are some of the traditional ways to celebrate Kwanzaa.