CHapter Fifteen Speaking of CourageHow does this chapter speak of courage?

In this chapter Norman has a flashback to a moment in Vietnam when he found it impossible to be brave and save his friend. He just couldn't do it, and he feels humilated by his weakness. It was the stink of the place and other small details that undermined his courage, he figures out as he thinks this through. Understanding this (to the extent that he does, because the entire incident is told through a hallucinatory experience)causes him to think that courage is fluid and inconsistent, made up of trivialities and sometimes undermined by trivialities as well, determined by elements of the situation that would seem to have little to do with the matter.  Courage is much more complicated that he knew.

What are some symbols (items) that make a person different and unique from everyone else--like Holden's red hat?

Holden uses many symbols to show that he is stuck in the
past or wishes he were dead:

Things Frozen in
Time

1. Allie's red hair & the
broken window in the garage

2. Allie’s grave (doesn’t like
visiting because of the rain)

3. Museum of Art: never
changes

4. Eskimo is mummified
forever

5. Frozen pond in Central
Park

6. Fish trapped
underneath

7. Ducks forced to be moved
elsewhere

8. Essay about Egyptians (mummies) written for
Old Spencer

Child-like
Things

1. Jane keeping her kings in the back
row (checkers)

2. “Catcher in the Rye”: rescue kids from
falling

3. “F#@K”: tries to erase
it

4. Elmer Fudd-like hunting hat; red like Allie’s bright
red hair

5. Allie’s glove with the poems written all
over

6. “Little Shirley Beans” – record he buys
Phoebe

7. Carrousel – Holden watches it go round and round
(never progresses)

8. Ducks in the lagoon: wants someone to
rescue them

Violent
Things

1.  Cannon on top of Thomson
Hill

2.  Red Hunting Hat

3.
 Blood after Maurice, Stradlater beat him up

4.  James
Castle (J.C. symbol of Jesus Christ) - his dead body after he committed suicide by
jumping out of a window

5.  Allusion to Mercutio's dead
body (stabbed to death by Tybalt)

What are the most five important scenes in "Lamb to the Slaughter"?

While this question is open to interpretation, 5 crucial moments that develop and resolve the conflict can be identified.  This is how I see them:

1) Patrick drains his drink, and refuses dinner.  Mary becomes aware that there is tension because of this.

2) Patrick announces his desire to leave his pregnant wife.

3) Mary kills her husband with the frozen leg of lamb.

4) Mary calls to police to announce that she has "found" her dead husband.

5) The police eat Mary's dinner, including the leg of lamb, and theorize about the murder weapon.

Dahl really ends on an ironic note here, with the investigators not aware that they are eating the murder weapon.  Readers are left with the understanding that Mary will be spared. 

Discuss the irony of the given statement: "I shouted at Stew-Cat, 'We'll be rescued!'"This answer should be from the novel, The Cay, by Theodore...

I suppose there are several ironies in respect to
Phillip's excited declaration to his cat in Theodore Taylor's novel, The
Cay. Most imporantly, the aircraft that Phillip hears (but cannot see) is not
a rescue plane for him: It is a warplane, and quite possibly a Japanese fighter flying
low above the palms, who chooses not to waste ammunition on a lone boy. Phillip's black
smoke emitted by the fire has possibly attracted a killer, not a rescuer. More likely,
it is an Allied craft who, after leaving, reports Phillip's location to authorities. The
other irony is that Stew-Cat has already scattered from the terrifying sound, and being
a cat, wouldn't have a clue why Phillip is so excited.

In Chapter 10 of Animal Farm, what is the final dramatic point regarding the old rulers and the new rulers?

The pigs run the farm as old Mr. Jones did before the rebellion. Napoleon and the other pigs are walking around on two legs, herding the other animals with whips, and asserting that all animals are NOT equal, some are more equal than others.

They remove the hoof and horn from the flag and change the name back to Manor Farm, which was the name of the farm before the rebellion. They no longer refer to each other as comrades, meaning the rebellious age is over.

The pigs form a friendly camaraderie with their fellow farmers, drinking and playing cards with them as they discuss the issues of running a farm and dealing with animals.

In A Tale of Two Cities, Book the First, Chapter 5, under what conditions do the people live?A Tale of Two Cities by Charles Dickens

Chapter Five of Book the First in Dickens's A
Tale of Two Cities is a "set piece"; that is, it is a scene that stands on
its own from the narrative.  "The Wine-Shop" introduces the reader to the DeFarges, who
are engaged with others called Jacques in bringing about the French Revolution.  The
DeFarges run the wine-shop, a covert place for the Jacques to congregate, and the
villainous Mme. DeFarge, who sees nothing, but sees everything, knits the names of the
aristocrats to be killed.

One day, a large cask of wine
drops and breaks in the street.  The cask, symbolic of the heads of the French
aristocrats who would be guillotined, tumbled and

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lay on the stones just outside the door of the
wine-shop, shattered like a walnut
shell.

When
this accident occurs, all the people nearby suspend their business, "or their idleness,"
in order to rush to drink the wine.  With "mutilated earthenware" they attempt to scoop
the wine up; women take handerchiefs from their heads, soak them in the wine and squeeze
the liquid into their infants' mouths.  Cheered by the wine, the people return to their
preoccupations:

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The man who had left his saw...set it in motion
again; the woman who had left on a door-step the little pot of hot-ashes, at which she
had been trying to soften the pain in her own starved fingers and toes, or in those of
her child, returned to it; men with bare arms, matted locks, and cadaverous faces, who
had emerged into the winter light from cellars, moved away to descend again; and a gloom
gathered on the scene that appeared more natural to it than
sunshine.

However, all the
starving people are stained with the red wine, and one "tall joker" scrawls upon a wall
with his finger dipped in muddy wine "BLOOD."

These
destitute and desperate people of Saint Antoine will soon join forces with other
revolutionaries and, as Dickens foreshadows, "the stain of it [blood] would be red upon
many there."

In The Grapes of Wrath, what does the slot machine symbolize?

The slot machine symbolizes both the luck of the draw in society in who comes up lucky and who loses out, and those who take risks versus those who never take the chance. The Joads can be seen in both of these categories. Clearly, they have fallen on hard times. They are travelling in the hopes of work and survival. Yet, they also take a risk-literally gambling on the chance that leaving all they know will turn out all right in the end.

What were Malcolm X's religious beliefs and how did his beliefs affect his actions?

Malcolm X was once an American Black Muslim minister.   He also was one of the leaders of the Nation of Islam. It is the disparity between these two belief systems that has led to some confusion about what Malcolm X did  & did not believe.  The Nation of Islam was separatist, believing that white people are the products of the devil and that black people were supposed to be atop the social order.  However,  after a pilgrimage to Mecca, in 1964, X became a Sunni Muslim & left the Nation of Islam.   Malcolm X now viewed Muslims of different races as equal & thought that all could get along eventually.  (Excluded, however, were persons of differing faiths.)

This quotation from Autobiography describes his religious & social outlook:

My thinking had been opened up wide in Mecca. I wrote long letters to my friends (about) my search for truth and justice. “I’ve had enough of someone else’s propaganda,” I had written to these friends. “I am for truth, no matter who tells it. I am for justice, no matter who it is for or against. I am a human being first and foremost, and as such I’m for whoever and whatever benefits humanity as a whole.” ... I believe in anger. I believe it is a crime for anyone who is being brutalized to continue to accept that brutality without doing something to defend himself. ...(L)et me remind you that when the white man came into this country, he certainly wasn’t demonstrating non-violence."

What was meant by the quote "I don't know, but they did it... Good night"

Atticus says this in response to Jem’s question, “How could they do it, how could they?” which, the text says, Jem asks “bleakly” because he is very upset about the jury’s decision to find Tom guilty in the face of all evidence to the contrary.  Atticus means that injustice is common, that many times people will make the easy decision instead of the right decision, and that only children have the sensitivity to understand this enormous gap between right and wrong, and because they understand it, be sad and lament such human weakness.

What is the platonic conception of Gatsby in The Great Gatsby?

Great question! 

In Chapter 6
of The Great Gatsby, our narrator, Nick
Caraway, says, "Jay Gatsby, of West Egg, Long Island, sprang from his Platonic
conception of himself." 

The term "Platonic" comes from the
Greek philosopher Plato who wrote mostly about the relationship between the ideal world
and actual world. Through his theory he established the idea of the "Platonic form"
which refers to the ideal (or perfect) form of something. So a "platonic form" (or
conception) equals an "ideal form." 

When Nick uses this
term to describe Gatsby, he is basically saying that Gatsby created his own identity by
thinking of the perfect, ideal form of himself, and committing to the ideal, despite the
realistic world around him.

It's helpful to look at the
rest of the quote in order to put this new understanding in
context: 

"He was a son of God—a phrase which, if it means
anything, means just that—and he must be about His Father’s business, the service of a
vast, vulgar, and meretricious beauty. So he invented just the sort of Jay Gatsby that a
seventeen year old boy would be likely to invent, and to this conception he was faithful
to the end."

Gatsby created himself into the person he
imagined himself to be when he was a kid. 

What are the similarities between the stories "The Yellow Wallpaper and "The Cask of Amontillado"?

In terms of unreliable narrators, the two stories are similar. In "The Cask of Amontillado," the narrator, Montresor, seems to be confessing to the murder of Fortunato, possibly on his death bed, but the reader is never really sure what is real and what has been fabricated by Montresor over the 50 years since the crime happened.

In "The Yellow Wallpaper," the narrator is also unreliable. We get snippets of her story from a journal she has been keeping that chronicles her descent into madness at her confinement in an upstairs bedroom at a house she and her husband are renting for a few months. Throughout her narration, the reader becomes aware of several things that the narrator is not aware of, like her descent into madness. Since she is losing her grip on reality, we too much question her take on the events in the story like one might question Montresor's interpretation of the events in "The Cask of Amontillado."

In The Light in the Forest, what actions do True Son and the Parson look to in support of their mutual distrust?When Parson Elder speaks with True...

In their discussion as to why members of the opposing
group are looked upon as savages, True Son argues first of all that the white men give
rum to the Indians to get them drunk. While the Indian is not in full control of his
faculties, he is cheated of his money, furs, and other possessions. He also expresses
resentment at the perception that the white man is determined to make the Indian just
like him, particularly in the matter of religion. He says that the white man wants "me
baptize or pray to (his) God or believe things (he will) be sorry for afterward." To
these accusations, Parson Elder responds that, sadly, some white traders most likely do
in fact cheat the Indians out of what they have by getting them drunk, but that he
himself has never seen it and does not condone it. The Parson goes on to admit that the
white man does indeed want the Indian "to believe certain things that are good for (his)
soul," and to adopt certain behaviors that are considered righteous, such as obeying his
parents, and not lying, stealing, or swearing. True Son retorts that the Indian only
swears because he learned to do so from the white man, and then brings up the most
damning incident of all, the massacre of Indian children by white Peshtank men. Parson
Elder admits the truth of this atrocity, and weakly defends his own efforts to stop it,
but then points out that "it's not only the white man who breaks the sixth
commandment...evil and ugly things have been committed against the will of God on both
sides." The Parson goes on to say how the white men constantly fear that the Indian will
come and scalp them and their children, and claims that he knows of many incidents where
children were killed and mutilated by Indians. True Son angrily rejoins that the Indian
would never do such a thing.

The divide between the Indian
and white experience is great. Both sides have been hurt by the other, and both True Son
and Parson Elder are skeptical about the truth as it is perceived by the other. The
Parson admits that the white man has treated the Indian badly, and both expresses regret
and makes excuses; True Son on his part does not believe that the Indian has done
anything wrong. In reality, acts of savagery have been committed by both sides, and
whether either side is justified in their actions is not considered in this exchange.
The mutual distrust between the two groups is not alleviated by this discussion; True
Son believes that the Parson is lying about the wrongs committed by his people, and the
Parson thinks that, given time, True Son will inevitably accept the white man's ways
(Chapter 9).

" Ode to the West Wind " translate the poet's own vision of poetry and life. Explain with examples

Shelley in his "Ode to the West Wind" equates his poetry
with the West Wind.  As the wind is a transforming power in nature, so can his poetry be
a transforming power intellectually and poetically.

The
wind ushers in and creates the seasons, the West Wind in autumn, and its sister in the
spring (part I).  The winds bring new weather and
climate.

In Part V, Shelley pleads with the West Wind to
let him do the same, figuratively, with his poetry:

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Make me thy lyre, even as the forest is
[whistling is created as the wind passes through the
forest]:

What if my leaves are falling like its
own!

The tumult of thy mighty
harmonies

Will take from both a deep, autumnal
tone,

Sweet though in sadness.  Be thou, Spirit
fierce,

My spirit!  Be thou me, impetuous
one!

Drive my dead thought over the
universe

Like withered leaves to quicken a new
birth!

And, by the incantation of this
verse,

Scatter, as from an unextinguished
hearth

Ashes and sparks, my words among
mankind!

Be through my lips to unawakened
earth...

Shelley's vision is
that his poetry will transform art, poetry, life, as the West Wind transforms
nature.

How would I apply feminist criticism to The Picture of Dorian Gray given that Lord Henry constantly speaks about women as if they were simply objects.

As The Picture of Dorian Gray is
social satire, you shouldn't put too much literal stock in anything anyone says.  If you
want to understand how the artist or Oscar Wilde feels about women, you should try to
understand the very opposite of their words.

Lord Henry is
a Vice figure, a Satanic hero, the sarcastic voice of the author.  He's a mouthpiece for
Wilde to pretend to be an  elitist and sexist socialites of the time, and he's too
unrealistic to be taken too seriously.

Lord Henry's
epigrams are little zingers that are part of Wilde's wit and not meant to be realistic
social commentary.  The worst thing you can do is take them out of
context:

My
dear boy, no woman is a genius. Women are a decorative sex. They never have anything to
say, but they say it charmingly. Women represent the triumph of matter over mind, just
as men represent the triumph of mind over
morals.

AND

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Men marry because they are tired; women, because
they are curious: both are
disappointed.

In an epigram
everyone is treated like an object.  They're all generalization and stereotype.  That's
the point.

Remember, an epigram
is

a statement
contradictory to what is accepted as a self-evident or proverbial
truth.

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The appeal of paradox lies in the fact that,
however contradictory it may seem to be to the accepted maxim, it contains nevertheless,
a certain grain of truth, which makes it an excellent vehicle of
satire...

AND,
to your point:

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Wilde’s epigrams and paradoxes have another
important function also. It is the showing of bourgeois morality. With the help of his
epigrams and paradoxes the author shows us his characters, their way of life, manners,
their thoughts and the bourgeois society of his
time.

How did the husband die?

In "A Jury of Her Peers," Minnie's husband dies of
strangulation.  His wife tells the police that someone sneaked into the house, placed a
rope around her husband's neck, and strangled him while he was sleeping.  That's the
wife's version.

The implication is that Minnie strangled
her husband herself.  The two women who make up the "jury of her peers," discover
evidence that suggests Minnie killed her husband the same way her husband killed her
canary.  Minnie, trapped in a subservient position to her husband and isolated from the
outside world--she doesn't even have a telephone--apparently found consolation and
comfort in the singing of the canary.  The suggestion is that when the husband killed
the bird, Minnie killed him.

Are there any other reasons why Vera lies in the story besides simply enjoying it?

Vera's behavior in Saki's "The Open Window" suggests that she frequently makes up stories since she does so twice within the tale.  When she lies to Framton Nuttel, Vera may be trying to prevent the man who is recovering from a nervous breakdown from staying at her aunt's home.  Vera, the only female child in the home, may feel that the newcomer's presence may threaten the amount of attention she may receive from the family.  Since Vera lives with her aunt and uncle, it is probable that she is an orphan and, as such, may crave the attention of others.  This seems to be demonstrated in the tale she tells her aunt, Mrs. Sapleton, about Mr. Nuttel's supposed terrible experience with a dog.  It is filled with exaggeration, and Vera seems to captivate the family with her descriptions.  Their reaction and the narrator's subsequent comment about how Vera is quite good at creating "romance at short notice" suggests that she is successful in drawing the attention she craves.

In chapter 25, why did Jem not want Scout to tell Atticus about Bob Ewell's comment? Was this a wise thing to ask her to do?

In Chapter 25 of To Kill a Mockingbird, Jem tells Scout the story of how he and Dill saw Helen Robinson receive the news of her husband's death. Later in the chapter, Jem tells Scout what he overheard when Stephanie Crawford was speaking with Aunt Alexandra:

"Mr. Ewell said it made one down and about two more to go. Jem told me not to be afraid, Mr. Ewell was more hot gas than anything. Jem also told me that if I breathed a word to Atticus, if in any way I let Atticus know I knew, Jem would personally never speak to me again" (page 245; page numbers may vary according to the edition).

Bob Ewell wanted Tom Robinson dead, and he most likely wants to go after anyone else who defended Tom, including Atticus (who is likely one of the "two more to go"). Jem does not want Scout to tell Atticus that he has told her this news, as Atticus would not want her to worry. However, Jem feels that Scout is getting older and is capable of hearing this news.

This is likely not a wise decision in some ways, as even if Scout knows about Bob Ewell's threats, she has no way to defend herself. On the other hand, Jem is helping her become more mature by revealing to her the reality that Bob Ewell is an evil man. Jem should have also told Scout not to trust Bob Ewell and not to put herself in a vulnerable position, but he tells her that it's likely an empty threat (while Bob Ewell's threat is not at all empty). By playing down the likelihood that Bob Ewell will carry through with his threat, Jem does not give Scout a serious enough warning about what Bob Ewell is likely to do.

Who is Creon, and why is he important to the plot of Sophocles's Oedipus the King?

Creon is the brother of Jocasta, the wife of Oedipus, the king. He's accused by Oedipus of conspiring with Tiresias to take the crown from Oedipus. As a master of manipulation, Creon sounds convincing until the end of the play. It is then we know that his interest all along has been to become king. Creon does become king in the end when Jocasta kills herself and Oedipus blinds himself. Ironically, Creon becomes king through no actions of his own, but we see his true nature in the two plays that follow. Basically, Creon is used in Oedipus the King to set up the plots of the other two plays, which center around Creon as king.

In A Midsummer Night's Dream, do you think the actors are capable of their duties? Explain.Act 1, scene 2

This hilarious scene actually presents us with a parody of
acting - we can only imagine what fun Shakespeare was having writing a scene
specifically for actors where they had to act very badly! I will focus on the character
of Pyramus (otherwise known as Bottom). There are many aspects to be aware of, but
firstly it is impossible to ignore the character of Bottom and his pretentious, arrogant
ways - notice how he tries to drown out all the other actors and poor Quince who is
trying to manage everything. He insists that he can play every character and presumably
gives an impression of how he would perform it:

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And I may hide my face, let me play Thisby too:
I'll speak in a monstrous little voice; Thisney, Thisne, Ah Pyramus my lover dear, thy
Thisby dear, and Lady
dear.

Notice too how Bottom
continually uses words incorrectly in his efforts to be verbose and to sound impressive.
The funniest example in my mind comes at the end of the
scene:

We will
meet, and there we may rehearse most obscenely and
courageously.

Bottom seems to
be presented as your typical big-headed, arrogant actor who wants to dominate the show
with his supposed "talent". Note too the ridiculous absurd lengths he takes to try and
think about how to dress and get in character:

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I will discharge it, in either your straw colour
beard, your orange tawny beard, your purple in grain beard, or your French-crown
coloured beard, your perfect
yellow.

Equally amusing of
course are Quince's efforts to maintain control and leadership of the situation, and
trying to rein and curtail Bottom's comments! These aspects all demonstrate that this
play that they will perform will be more of a comedy than a tragedy, as their
performance proves later on.

What is the plot outline for the book the outsiders?

The novel The Outsiders more or less
follows a pretty typical plot structure, which consists of an exposition (exposing
characters and setting), a point of conflict, rising action, climax, falling action, and
the resolution (or, a.k.a., the denouement); however, there also seem to be some minor
climactic moments sprinkled here and there also.

In the
beginning, or the exposition, we are introduced to the time period and some of the main
characters, but we are also quickly shown one of the greater conflicts in the story
- the clash between the greasers and the socs - when Ponyboy and some other greasers
scuffle with some socs at the movie theater.  There seems to be an attraction between
Cherry Valance and Ponyboy, but readers understand the obstacles that this relationship
faces.

This, of course, is an important conflict in the
story -  the age-old battle of the classes, the haves and the have-nots.  Another
possible struggle, though, is Ponyboy's internal struggle: is he truly a greaser like
his family and friends?  Is he somehow fighting against the limitations of his own
culture?

The rising action, or growing tension, seems to
center around the big "rumble" that's planned between the greasers and the socs, which
leads to the climactic fight scene.  Other climactic scenes, though, could be when
Johnny and Ponyboy rescue the kids, when Johnny dies, and/or Dally's scene with the
police.

The story ends brilliantly, with Ponyboy writing a
paper for English class using the same lines that the beginning of the book uses.  The
resolution sort of leads us wondering where Ponyboy goes from here: does he fall into
the predictable dismal life of a greaser, or can he follow Johnny's advice to "stay
gold" and triumph over his environment?

For a more detailed
summary of the plot, see the link below.

How does Elie Wiesel describe himself as a boy in Night?

This is a good question. There are many ways that Elie
describes himself. We need to keep in mind that Night is his
memoir. In light of this, the whole work tells us something about
him. 

First, Elie was religiously curious. Right from the
beginning, an exploration of his faith interested him. He even sought people to help him
learn more about his faith. This is an important point, because Elie possessed religious
sincerity, a point that will be important in the
book. 

Second, Elie during the holocaust lost his faith. In
the face of evil, he could not hold onto his traditional faith. Where is God in this
evil? Here is what he says:

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"For God's sake, where is God?"
And
from within me, I heard a voice answer:
"Where He is? This is where—hanging
here from this
gallows..."

Third, we can say
that Elie is a dutiful son. When sons abandoned even their fathers, Elie refused to do
so. To the end, he was faithful to his father. At times he admits that he did so
grudgingly, but he remained faithful. 

Finally, Elie would
probably view himself as a survivor. He not only lived, but he did not lose his humanity
in the process. 

In Great Expectations, the marriage of Biddy and Joe comes as a surprise to Pip. What two passages in previous chapters foreshadow this relationship?

At the end of Chapter 35, after Mrs. Joe has died, and after Biddy has told Pip lovingly "how Joe never complained of anything...but ever did his duty in his way of life, with a strong hand, a quiet tongue, and a gentle heart", we see Joe "already at work with a glow of health and strength upon his face that made it show as if the bright sun of the life in store for him were shining on it".  We know good things are coming in Joe's life, and it wouldn't be surprising if they concerned Biddy, who had such genuine concern for him even then.

A few pages into Chapter 57, when Pip first revives enough to converse with Joe, Joe tells how he learned of Pip's illness through a letter the postman brought Biddy, and characteristically goes off on a tangent about the postman "formerly single he is now married though underpaid...but wealth were not an object on his part, and marriage were the great wish of his hart".  It is arguably not the postman, but Joe himself of whom he is speaking. Underappreciated by Pip and unconcerned by wealth, his marriage to Biddy will indeed be revealed one chapter later.

Why did Orwell bother to write Animal Farm?

Tthakar's answer is excellent. From what I understand of Orwell, he was deeply disillusioned by what he saw as the corruption of the socialist ideal. He saw people rising to power who essentially carried on--even trumped--the abuse of power that happened under the monarchy. Animal Farm began, like 1984, out of resistance, but it became much more, which is why we still teach it today. As well as an allegory about the situation in Russia, it offers amazing insight into power relations. Look at what happens: the pigs rewrite the laws to suit themselves; the sheep blurt out whatever inane saying they are taught to say without ever once thinking about what they are saying and whether or not it is what they believe; the workers respond to stress by working harder, which, like Boxer, they do until they have worn themselves out completely, and so on. The animals correspond so perfectly to types of people in our society that the book has come to be not only a warning, but also a wry sardonic comment on the state of the willfully ignorant masses: we will forever be abused by corrupt authority unless we think and act with authority ourselves.

Why is the Cyprus experiment important?

In Chapter 16 of Brave New World,
Mustapha Mond tells of a colony entirely of Alphas which obviously juxtaposes the Savage
Reservation (made up of outcasts entirely).  His conclusion is that the mini-utopia of
Cyprus failed because of unequal distribution of leaders to workers: none of the Alphas
wanted to work.  He says the perfect society is based on the iceberg: one-ninth above
(Alphas) with nine-tenths below (Betas, Gammas, Deltas, Epsilons) as
support.

Curiously, there are two allusions to be gleaned
from this failed experiment.  First, Cyprus was the island where Othello went wild with
jealousy.  This too is the failing of an all-Alpha society: they become jealous of each
other.  Just as Othello would rather kill Desdemona than share her with others, so too
do the Alphas strike and fight civil wars than share leadership
positions.

Next, the iceberg analogy is used by Freud.  He
says that we only reveal about one-ninth of ourselves in the form of Ego.  We bury the
other nine-tenths between Superego and Id (with the Id being the bottom-most).  So, the
Utopia of the Brave New World is regulated the same way, by having the masses support
the few, and by only showing one segment of itself while the other segments go
unnoticed.  The population below are happier because they do not ever need to
think:

"The optimum population," said Mustapha
Mond, "is modelled on the iceberg–eight-ninths below the water line, one-ninth
above."
"And they're happy below the water line?"
"Happier than
above it. Happier than your friend here, for example." He pointed.
"In spite
of that awful work?"
"Awful? They don't find it so. On
the contrary, they like it. It's light, it's childishly simple. No strain on the mind or
the muscles. Seven and a half hours of mild, unexhausting labour, and then
the soma ration and games and unrestricted copulation and the
feelies. What more can they ask for?

In To Kill a Mockingbird, what did Jem do that made Scout say "he broke the remaining code of our childhood"?

In Chapter 14 of Harper Lee's novel To Kill a Mockingbird, Dill has run away from home and taken refuge under Scout's bed, where he hid for two hours.  Jem, clearly understanding the gravity of the situation, insists that Dill's mother ought to informed of her son's whereabouts despite Dill's obvious pleasure in the thought of people back home searching for him.  It is then that Scout comments on Jem's decision to inform Atticus of this new development:

Dill’s eyes flickered at Jem, and Jem looked at the floor. Then he rose and broke
the remaining code of our childhood. He went out of the room and down the hall.
“Atticus,” his voice was distant, “can you come here a minute, sir?”

Scout is aghast that her brother would violate this childhood 'code of conduct' that precluded the provision of sensitive information to adults, especially information regarding their own conduct and that of Dill, their closest friend.  The episode, however, serves to illuminate the degree to which Jem has matured emotionally and is ready to make that transition towards adulthood.

"Light, bright & sparkling"-Is this an adequate description of Jane Austen's novel Pride & Prejudice? Elucidate.

Very interesting quote you have been given. The problem
that I personally have with it is that it makes out Pride and
Prejudice to be a superficial novel, without depth or without talent. It
reminds me of one of my lecturers when I was studying English who said to our seminar
group (which was about 75% female) that Jane Austen's novels were a 18th Century form of
chic-lit and were only for single menopausal women. You can imagine how that went down -
the lynching only lasted for 5 minutes before security came in and escorted the lecturer
away :-).

The problem is with views like this quote is that
it ignores that Pride and Prejudice is about serious issues. Yes it
is hilariously funny in places, and the humour is something we can all appreciate, and
it does make the novel "sparkle", but often the humour covers up serious, brutal
realities of life for Austen's heroines, and indeed, for women in general at that time.
For example, one of the key issues is the importance of marriage and how vital it was
for women. If we understand that then we can understand how happy Charlotte Lucas was to
marry even someone as stupid as Mr. Collins - it gave her independence, social standing
and prevented her from becoming a spinster who was a dependent nuisance to her family.
Understanding this fact gives new meaning to Mr. Collins' chilling threat to Elizabeth
that if she does not accept him she might never get another
proposal.

So - don't be deluded by the humour and
superficial "shell" that Pride and Prejudice has - probe a little
deeper and you will see it is about a lot more than just bodices and
balls.

Give examples of when Macbeth equivocates in Shakespeare's play, Macbeth.

An equivocator is someone who lies and tells half-truths, or says something ambiguous to mislead another. In Shakespeare's play, Macbeth, the witches are generally considered the "great" equivocators in the play in the play. (In the second set of predictions they deliver in Act Four, they tell half-truths to trick Macbeth.) However, we can see instances, also where Macbeth is no better than the witches for telling lies.

The first instance where Macbeth outright lies is when he says he killed Duncan's guards because he was so upset over Duncan's murder at their hands. He actually kills them so they cannot raise doubts in anyone's mind that they were "framed."

MACBETH:

O, yet I do repent me of my fury,

That I did kill them. (II.iii.117-118)

He excuses his behavior, wondering how anyone could be levelheaded in the face of such horror: seeing his beloved King murdered.

Another instance is when Macbeth speaks to Banquo, ostensibly to ask him if he will be gone long when he goes riding—to remind him not to be late for dinner because Macbeth wants to speak to him. Macbeth is actually making plans to have his friend murdered because Banquo heard the witches' initial predictions that told Macbeth he would be king, and Banquo has told Macbeth that he will not be swayed from what he believes to be morally correct.

MACBETH:

We should have else desired your good advice,

Which still hath been both grave and prosperous

In this day's council; but we'll take tomorrow.

Is't far you ride? (III.i.23-26)

Later in the same scene, Macbeth meets with the men he has hired to murder Banquo. They are not professional killers, but simply common men whose lives have taken a turn for the worse. Macbeth has told the men that Banquo is to blame for their dire circumstances—when they had originally thought it was Macbeth. (The truth is that it was Macbeth who had beggared them.)

MACBETH:

...Know

That it was he, in the times past, which held you

So under fortune, which you thought had been

Our innocent self?

...“Thus did Banquo.” (81-84; 89)

Macbeth goes on to ask these men (much like his wife asked him with regard to Duncan) if they are kind-hearted enough to ignore what Banquo has "done," or if they will be man enough to do something about it.

Of course, the men believe Macbeth (as most of his peers do at the beginning), never expecting that this new King of Scotland is lying to them. He tells them that he could kill Banquo easily himself, but that he doesn't want to offend important men who are mutual friends to Macbeth and Banquo.

Macbeth does all he can not only to take the throne from Duncan, but to make sure it remains in his possession.

What is the Wife of Bath's real name and occupation?

The Wife of Bath, or Alyson, is in a constant state of marriage.  Of course, she is married on the doorsteps of the church because of "company in her youth" which suggests she was a bit promiscuous as a young lady. However, it also makes her an expert in the language of love and husband acquisition.  She has married five times and states that she is on the pilgrimage in search of husband number six.   Some she loves, but all of them help make her wealthier which is why she can afford to go on all the pilgrimages she has been on...a well-traveled woman and quite independent in a time where woman did not have all the rights and privileges with which we have since become accustomed.  She is a professional wife in search of a man who will treat her as his equal...just like the woman who stars in the tale she tells on the way to Canterbury.

What are two ideas that "Elsewhere" represents or symbolizes in The Giver?

"Elsewhere" represents an unknown world where those who leave the community go.  The old, weak, and troublesome are "released" there - although in reality they are murdered, the people are led to believe that they are simply choosing to leave the community in a rite of passage, traveling to "Elsewhere".  In this case, "Elsewhere" is similar to a belief in an afterlife, an explanation as to what happens when a person leaves life as it is known.

"Elsewhere" also represents a physical place outside the community's boundaries.  It is the place to which Jonah travels after his escape from the society.

What do the last few sentences in Chapter 2 of The Great Gatsby mean?It just doesn't make sense as of why these sentences would be in the story,...

I like the first answer for as far as it goes (especially
in reference to the portfolio and the titles of the photographs). However, I think it's
also important to remember that Nick is writing a novel about his experiences, so his
use of ellipses is his novelistic technique, not just Fitzgerald's.
Nick might have used the ellipses to indicate his drunken state, but if that's the
reason, why didn't he use ellipses earlier? Nick was drunk earlier in the evening, too,
and yet, this is the first place where he uses
ellipses.

Some critics suggest that Nick uses ellipses to
indicate a possible intimate homosexual encounter between Nick and Mr. McKee, who he
earlier described as a "pale, feminine" man who is uninterested in his wife. Also, it
might be helpful to remember that Nick is obsessed with the spot of dried lather on Mr.
McKee's cheek and eventually takes out his handkerchief to wipe it off when Mr. McKee
fell asleep on a chair. Mr. McKee invites Nick to lunch when they are taking the
elevator from Myrtle's apartment. I think drunkenness does not fully explain these last
lines, in which Nick specifically explains that Mr. McKee is "sitting up between the
sheets, clad in his underwear." Mr. McKee's near nakedness and the two men's location in
the bedroom suggests something quite intimate has occurred. Also, Nick's use of ellipses
to leave out details suggests he may be trying to avoid something: his relationship with
Mr. McKee, the events of the evening with Mr. McKee after he leaves Myrtle's apartment,
or perhaps just his own drunken behavior.

This is a great
passage! Thanks for asking such a good question.

What is Gatsby's role in chapter 7?

When examining the role of Gatsby in this chapter, you
need to think about how he relates to other characters. Chapter 7 features primarily the
conflict between Gatsby and Tom, and their battle over Daisy exposes problematic
idiosyncracies of both characters. Note how in previous chapters there have been veiled
hints about Gatsby´s criminal activity, and Tom discovers the truth of these
accusations. Tom uses this knowledge to disgrace Gatsby.

We
can see too that Gatsby is trying, vainly, to recapture a perfectly happy blissful past.
This makes him order Daisy to tell Tom that she has never loved him. Gatsby, perhaps
because of his own insecurities, has to know that Daisy has always loved him alone and
that he has had her loyalty. When Tom orders Daisy away, Gatsby declares to Nick that
his dream is a failure.

Of course, centrally, Gatsby´s
decision to take the blame in the place of Daisy demonstrates both the depth of his love
for her and his honour and code of chivalry that captures so much of his character.
Although Daisy seems to treat him abominably, he still willingly sacrifices himself for
her. A key image to focus on is when Gatsy watches Daisy outside her house whilst she
and Tom sit together inside. This somehow captures the love Gatsby has for Daisy and
also helps the reader move beyond his criminal connections and sympathise with his lot.
Note too, how Nick´s departure at the end of this Chapter mirrors his first meeting with
Gatsby in Chapter 1. In both of these incidents, Gatsby is solitary in the moonlight,
lovesick and pining over Daisy. Pay attention too to the differences: in the first
meeting he is stretching his arms out across the water towards the green light, showing
optimism about the future. In this chapter, however, he is placed beyong the green light
and is on teh lawn of Daisy´s abode, but his dream is now irrevocably lost. A tragic
ending to his hopes.

What are the general criteria of shaving creams preparation

The purpose of shaving cream is to moisten the skin and
prep it for hair removal. A very important aspect of shaving cream preparation is pH
level. It should be close to what the skins natural pH level is so there is not an
excessive amount of irritation caused.

Two of the most
common ingredients found in shaving cream are stearic acid triethanolamine. There are
also many other ingredients as well.

When shaving cream is
manufactured the process begins by heating the fatty portions of the formula. After is
has been smoothed it is allowed to cool. More ingredients are added at this point and it
is mixed. This is when fragrance can be added. The mixture is still allowed to cool and
it is screened to remove any lumps that may remain behind. The next part of the process
is packaging.

In chapter 7 of The Great Gatsby, why does Nick change his feelings toward Jordan? What were his feelings before?

Nick's feelings about Jordon before chapter 7 of The Great Gatsby tended toward a sort of amused curiosity laced with affection.  After all the events that took place in the previous two chapters in particular, Nick is no longer amused by the spoiled, self-centered crowd Jordan is a part of.  He is now disgusted with these people, Jordan included, because he sees them for the shallow, self-absorbed, immoral people that they are.

What commandment is violated in Chapter 7?

Napoleon, in an attempt to maitain control of his farm in its weakened condition, has elevated his tyranny to extreme levels.  He violates the commandment "no animal shall kill another animal" by having the hens and the other "troublesome" animals gathered up and attacked.  He is trying to strike fear into the hearts of his "people" in order to keep them loyal.  However, like most tyrants, his immediate success will be followed by eventual downfall. 

After the deaths, the commandment is changed to "no animal shall kill another animal without reason".  In this changing of commandments, the last commandment is also being violated "all animals are equal".  Clearly, they have not been equal for some time.

How are Tom and Gatsby alike and how are they different in The Great Gatsby?I'm asking this question because it is my topic on a three page...

There is a lot that can be used to compare Tom and Gatsby in the book. Just consider the interactions they both have with Daisy.

Tom and Gatsby do not really know who Daisy is. By that I mean they both have a preconceived notion of what they need her to be. Tom needs her to look good and not question him too much. While he is a philanderer, it never occurs to him that she would do the same to him. He assumes that by marrying her, he has fulfilled her dreams.

Gatsby wants Daisy, but it is the Daisy of his fantasies that he is really in love with. The Daisy in his fantasies is swept away by his new-found wealth, and they live happily ever after. But Gatsby does not think of the real Daisy, not the fact that she has a husband, or a child, or that she is flighty.

Tom and Gatsby are different with respect to Daisy , as well. Tom is dismissive of his wife. He doesn't appear to hear anything she says. Daisy is used to it, as well. If you notice, most of her comments are rhetorical. Gatsby listens, but he puts his own connotations on her words. While he does talk to her, he changes the context of the conversations to suit his idea of what she would say.

In what terms is the setting out of the ship described?

Concerning Coleridge's "The Rime of the Ancient Mariner,"
I'm not sure what you mean by "out of the ship."  I assume you're talking about the
setting other than the ship.  I'll answer based on that
assumption.

First, there are two settings, the first of
which is a city, maybe London, in which the Ancient Mariner corners the wedding guest
and tells him his story.  I'll skip that one and talk about the main setting, the sea
and sky.

At first, the sea is bright with sunshine and the
sea is calm, then a storm hits and propels the ship south and into a sea of ice.  This
is a natural setting with natural weather.  The ship is trapped in the
ice.

The albatross arrives, however, and the setting begins
to shift toward the supernatural.  The ice splits and the ship sails to safety, due to
the presence of the bird, it is assumed.

After the Mariner
kills the albatross for no good reason, the setting continues to move to the
supernatural.  The fickle sailors go back and forth between condemning the Mariner and
praising him, but soon there is no question that the albatross is being
revenged.

In short, the sun is "bloody," no wind blows and
the ship is stranded, slimy things crawl on the sea, a skeleton ship approaches, water
snakes move in tracks of shining white.

The supernatural
setting reflects the injustice of the Mariner killing one of God's
creatures.

How does Beowulf die?

Beowulf dies during battle with a dragon. In the second part of the poem, Beowulf has ruled over the Geats for fifty years, and he is a good leader. When the dragon attacks, it is worthy of note that he does not do so unprovoked. The dragon has been tasked with guarding a treasure hoard, and although the original owner of the treasure has long since died, the dragon continues to stand guard. When a cup is stolen from the treasure by a man who wants to win favor with his master, the dragon seeks revenge on Beowulf's people. Beowulf takes a large retinue of warriors to fight the dragon, but at the sight of the creature, all of Beowulf's vassals flee with the exception of Wiglaf, the youngest. Beowulf and Wiglaf fight the dragon together, and although they kill the dragon, Beowulf is fatally wounded. As he lays dying, Beowulf gives Wiglaf instructions for his burial and the disposal of the treasure.

Wiglaf's remaining by Beowulf's side reinforces the theme of loyalty in the poem. Beowulf is ultimately faithful to his lord, Hygelac, even while he is fighting in the service of Hrothgar, a rival lord. This loyalty is repaid when Wiglaf remains by his side, even while his other vassals flee.

How does Defoe show irony in Robinson Crusoe?

The most powerful irony in this work, when read by a twenty-first century audience at least, is the stark discrepancy between Crusoe's religious conversion and his imperialist attitudes. While his spiritual rebirth on the island seems sincere, it is inconsistent with both his enslavement of Friday and his sense of natural superiority.

What quote shows that Macbeth is power-hungry in Act III?

To build on the quote the editor above uses, in
Shakespeare's Macbeth, Macbeth's worries about Banquo and Fleance
become more concrete and lead to plans to murder them in Act
3.2.

Macbeth is upset again, and his wife tries to calm him
down.  He tells her to give Banquo her special attention, because they need to fool
Banquo.  She tells him to stop talking like this, that Banquo and Fleance won't live
forever, and he responds:

readability="17">

There's comfort yet; they are
assailable.

Then be thou jocund.  Ere the bat hath
flown

his cloistered flight, ere to black Hecate's
summons

The shard-borne beetle with his drowsy
hums

Hath rung night's yawning peal, there shall be
done

A deed of dreadful note. (Act
3.2.40-44)

Lady Macbeth,
then, trying to reassure him, says not to worry, Banquo and Fleance can't live forever,
and Macbeth turns that to something like:

• You're
  right, we should be happy.  They are reachable.  Before night falls, something dreadful
  will happen.

The something dreadful is
Macbeth's assassins trying to kill Banquo, and succeeding, and trying, but failing, to
kill Fleance.

What are some similarities and differences between Hamlet and Horatio?

Since Hamlet and Horatio were classmates at Wittenberg, besides that similarity, they are roughly the same age.  They both are intelligent.  One of the reasons Marcellus asked Horatio to witness seeing the ghost is because Horatio is a scholar (Act 1, sc. 1.)  Hamlet's intelligence is shown throughout the play.  Both Hamlet and Horatio tend to spout philosophically at times. Horatio tells us in the final scene of Act 5, than he would like to commit suicide like the ancient Romans did when a leader or a cause was lost.  Hamlet gets philosophical many times in the play, especially in his soliloquies.  The two differ in their philosophies however.  Horatio is a stoic and as such, tries to display little emotion.  Hamlet, on the other hand, is quite emotional.  Hamlet seems to have little problem sending Rosencrantz and Guildenstern to their deaths (Act 5, sc. 2), but that Horatio even comments on it by saying "So Guildenstern and Rosencrantz go to't," indicates that he is slightly disapproving.  Of course the two of them are also different in their stations in life.  Hamlet is a prince and Horatio is not.

Why does Abigail "admit" that Tituba and Ruth were conjuring spirits? How does she treat the other girls and her uncle?Act 1

Abigail finally must "admit" that something had happened in the woods because things had gone to far for her to stick to her professing innocence.

At the beginning of Act one, Abigail claimed innocence in her uncle's questions in the wake of Betty's unresponsive state. Parris confronts her with his suspicions, yet Abigail maintains it was all innocent dancing.

As the act progresses, the Putnam's come over and announce Ruth has fallen strangely ill, as well. Parris pushes her further, and Abigail's story is not holding up well.

Abigail still tries to maintain control, and this is seen with her attempted bullying of Mercy and Mary Warren, and even inert Betty Parris.

After Goody Putnam tells Parris that she sent Ruth to try to get Tituba to talk to her dead children, Abigail knows it is over.

She then goes into defense mode, and confesses that Tituba was to blame, she was powerless to resist.

What do the numbers written on Arnold Friend's car (33, 19, and 17) signify in the story?

Something a little different to add...

33 19 17 can be numerologically written as: Genesis, the first book of the bible... where it states: "As soon as they had brought them out, one of them said, 'Flee for your lives! Don't look back, and don't stop anywhere in the plain! Flee to the mountains or you will be swept away!'" This is refering to the parable of Lot, when he's fleeing the distruction of Sodom and Gomorrah. His wife does look back though, and she's turned to salt.

One could assume that this is refering to when Connie looks back at Arnold in the dinner before she leaves.

Another representation of 33 19 17 is the word Consumed, as Lot's wife was, and as Connie would be by Arnold Friend.

The numbers are also the ages of the victims that the criminal raped and murdered that Oates based Friend off of: 33, 19 and then 17.

Some more interesting numbers in the novel:

Connie Arnold Friend = 6 6 6

June is the sixth month of the year.

Connie Mother Father: 6 6 6

and then of course:

A N OLD FIEND which is what you get when you take out the letter 18, R, from Arnold's name, which coincidently is 6+6+6

And then Friend's age, which he says is 18.

Using quotes when possible, explain why Abigail accuses Elizabeth of witchcraft in The Crucible.

The two previous answers are excellent, but I would like to add another motivating factor.  Abby has constructed a lie that she is unable to extricate herself from...like a drowning person, she clings to whatever salvation she might find, even if it means dragging an innocent person (Elizabeth) down to save herself. 

There is not much to recommend Abigail.  She has already shown that she is ruthless in her desire to save her own skin.  Consider her threatening of poor Betty and the other girls in Act 1: 

And mark this.  Let either of you breathe a word, or the edge of a word, about the other things, and I will come to you in the black of some terrible night and I will bring a pointy reckoning that will shudder you.  And you know I can do it; I saw Indians smash my dear parents' heads on the pillow next to mine and I have seen some reddish work done at night, and I can make you wish you had never seen the sun go down!

Then compare Abigail's selfishness to that of Proctor's eventual moral dignity in Act 3, speaking of Abigail:  "She thinks to dance with me on my wife's grave! And well she might, for I thought of her softly.  God help me, I lusted, and there is a promise in such sweat.  But it is a whore's vengeance, and you must see it." 

According to Atticus, what is the state prosecutor counting on to convince the jury to convict Tom Robinson in To Kill a Mockingbird?

I think that you are talking about what Atticus says in
Chapter 20 when he is delivering his closing argument to the jury.  He does not really
focus so much on the prosecutor as on the Ewells,
though.

What he says they are relying on is a prejudice
against blacks.  He says they are relying on the jury to believe that blacks are
completely immoral and not to be trusted.  He says that their testimony requires the
jury to believe that all black people lie all the time and that all black men want to
violate white women if only they could get the chance.

How does George Orwell make Julia such a significant and memorable character in 1984?

Julia reverses our expectations of what a woman would be like in that society. She is a contradiction: on the one hand, she is a walking advertisment for the anti-sex league; on the other, a promiscuous woman whose goal is to spread corruption through the party by having sex with as many party members as possible. Unlike Winston, who appears to be fumbling his way into revolutionary acts, she has a system and a plan. She's instigates the affair with Winston and she has actually worked out how to avoid detection (or so we think). Winston tries to be invisible, but Julia makes herself as visible as possible in her community so that on the outside she is everything the party could want. But on the inside, at least for much of the story, she is her own person. I think she is memorable because of this. 

In the Grapes of Wrath, what is the function of chapter 15? What does this imply about waitresses, businessmen, and truck drivers?

Chapter 15 is an important elements of the storyas it
reinforces one of the central themes of the novel: the power and importance of community
and human generosity. The small diner is a microcosm for the larger world. Here, we see
the wealthy customers come in and pretentiously complain about everything they encounter
and leave little or nothing in the way of tips. We see the truck drivers who come in,
are polite, thankful for what they receive, and leave tips for those that work there.
But it is in the road-bound family (one much like the Joads) that we see the real push
of the novel's message. We see the behavior of the cook defending and supporting the
father's desire to buy a loaf of bread for his family, over the objections of the
waitress. But then we see the transformation occur in the waitress when she sells the
candy two for a penny. We learn after the family leaves that the candy really cost five
cents each. This behavior is then reinforced and rewarded by the two truck drivers who
witness the events leaving an extra large tip. This scene reinforces that tension
between the classes and the power of generosity and community that is needed for the
benefit of all.

How does the era of Prohibition lend an added significance to the hypocrisy emphasized in The Great Gatsby?

The Prohibition Era was one of wildly divided popular opinion with respect to the value of prohibition laws. While the rural and agrarian sections of the nation generally supported prohibition laws, the urban centers on the coasts and in the midwest ignored the laws. In cities such as New York, Chicago, and Detroit, liquor flowed in quantities greater than before prohibition. In many instances, alcohol was supplied by organized crime syndicates. Otherwise law-abiding citizens of all classes willingly paid the asking price - for the great irony of the prohibition laws was that while it was illegal to sell, manufacture, or distribute alcoholic beverages - those same beverages were legal to consume.

With the hypocrisy of prohibition as a backdrop, it is more than appropriate that Gatsby made the fortune that he thought would reignite Daisy's love for him, by profiting from ignoring an ill-conceived law. At the same time, Gatsby engages in the ill-conceived romantic notion that his wealth will somehow make him an equal with Tom Buchanan and the "old money" types of East Egg. It is here that Fitzgerald unfolds, through Nick's narrative, the hypocrisy, dishonesty, racism, sexism, and class bias of the upper class. Nonetheless, though Gatsby sees the hypocrisy, he is blinded by his love for Daisy, and ultimately dies in pursuit of his romantic dream, while Daisy and Tom continue to live their hypocritical lives with few negative consequences.

Deconstruct this passage from Hamlet:QUEEN: Come hear, my dear Hamlet, sit by me. HAMLET: No, good mother, here's a more attractive placePOLONIUS:...

This is Act III scene ii, just before the staging of the
dumb-show and the play-within-the-play, "The Mousetrap."  Here, Hamlet is the opening
act.  He is performing a show in the audience.  As the comic prelude to "The Mousetrap,"
Hamlet is playing a role he is good at, "Crazy Hamlet," ridiculing his mother, and
angering Claudius in the process.  This playful scene diverts attention away from the
action of the real play (the Murder of Gonzago) and Hamlet's real motives ("to catch the
conscience of the king") and furthers the theme of "appearance versus
reality."

The only problem is that Hamlet's scene partner,
Ophelia, doesn't know that she is to be part of the act.  She plays straight, while
Hamlet proceeds with the puns and sexual innuendoes, signs of what Freud called the
"Oedipus Complex," repressed feelings of sexual jealousy aimed at an older male figure
who shares a bed with the son's mother.

Remember, most of
what Hamlet says to Ophelia in the play is directed at his mother.  Here, she is present
and open to public ridicule at the hands of her own son.  Hamlet knows this will anger
her and, more importantly, Claudius.  His primary concern once the show starts will be
watching to see if Claudius will show signs of guilt, and this pre-show comic act is but
a way to rile up the king in a very public way.

We have
much meta-drama here.  The audience is watching Hamlet.  Later, the audience will be
watching the actors.  All the while, Horatio will be watching Claudius.  So, everyone is
on stage here: "the play's the thing."

The risque banter is
fraught with Oedipal connotations.  A Freudian critic may say that Hamlet is sexually
jealous of his step-father here, that he wants to be object of his mother's affections
(in mourning) after the passing of his father; instead, she turns to Claudius for
emotional and sexual consolation, much to Hamlet's dismay.

What is the purpose of Toni Morrison using multiple sex scenes and references in the Bluest eye?

I think the different sex scenes are used to give the reader an insight into the characters.  What Pecola's father does to her is awful and Morrison is not making excuses for him but she does make the issue more complex  by having included the scene of Cholly's first sexual experience one that was dominated by the white hunters.  In this way we can also see Cholly as a victim.  This does not make up for his abuse of the daughter but it underlies the immense tragedy of the whole situation. 

Through the various scenes which include sex, the reader is able to get insight into the characters as well as see the complexities of the issues of racism and ideal beauty through the different ways in which sex or sex appeal is portrayed. 

Does Chris McCandless find his "spiritual reality" while in Alaska?Using atleast 3 levels of support from the novel (quotes w/page numbers) argue...

I would argue that Chris McCandless probably thought that
he had found his spiritual reality when he arrived in Alaska, but then eventually
realized that he did not.  Here are several examples to support this
opinion.

1.  After years of planning for and traveling
toward his ultimate goal of entering the wilderness and living off the land, Chris
finally arrived in Alaska and struck out on his own.  During his first several weeks in
the area around the bus, Chris seems to have been doing quite well, well enough to
believe that he had reached his goal (he made plans to return to "civilization" when the
weather made it possible).

2. If Chris had survived,
however, I think that he would have had to admit that by using the bus as his habitat,
he was cheating a little because he used a completely artificial intrusion to shelter
himself--a "house" that rusted, decayed, and was an eyesore to Alaska's
wilderness.

3.  The most striking evidence to demonstrate
that Chris most likely did not feel completely spiritually fulfilled appears in his note
that he left asking for help and the fact that he signed his real name to what we
believe is his last written note (instead of signing Alexander Supertramp).  His
signature suggests that he had entered back into the world of
reality.

How does Mr. Utterson's conversation with Dr. Jekyll increase the mystery over the relationship with Mr. Hyde?From the chapter, "Dr. Jekyll was...

In this chapter, Utterson goes to talk to Dr. Jekyll in an
attempt to find out what is going on with him and Hyde -- why he has written the will
the way he has.  But his conversation with Jekyll really only makes things
worse.

This is because Jekyll does not really tell him
anything.  He tells Utterson that it is a private manner and he should leave it alone. 
But at the same time he talks about how he can get rid of Hyde whenever he wants.  And
all the time, he has a "certain incoherency of manner."

So
Jekyll is sort of just babbling a bit and doesn't really give Utterson any more
information.

a. 2x = sqr root 12x+72 b. sqr root x+5 = 5 - sqr root x c. |2x| = -|x+6| d. 5 = |x+4|+|x-1| e. |x-2| = 4 -|x-3|Please Help!!!

a) Supposing that you want to
solve:

2x = sqr root
(12x+72)

First you have to check for what x values, the
square roots exists. To check, you have to solve the
inequality:

12x+72>=0

If
you divide the inequality with 4, you'll
have:

3x+18>=0

3x>=-18

x>=-18/3

x>=-6

That
means that, solving the equation, you have to keep all x values which belong to the
interval set by the condition of existence of the square
root.

Now, let's solve
it:

(2x)^2=(sqr root
12x+72)^2

4x^2=12x+72

4x^2-12x-72=0

x^2-3x-18=0

x1=[3+sqrt(9+72)]/2

x1=(3+9)/2

x1=6

x2=(3-9)/2

x2=-3

Though
both solutions belongs to the interval, we have to verify them into the
equation.

If we put x=-3 in equation, we'll
have:

-6=sqrt(-36+72)

-6=sqrt36

-6=6,
which is not true.

b) sqr root (x+5) = 5 - sqr
root x

x+5 = 25-10sqrt
x+x

20-10sqrt x=0

2-sqrt
x=0

sqrt x =
2

x=4

c)
|2x| = -|x+6|

In order to solve this equation, first let's
see for what value of x, 2x>=0

|2x|=2x for
x>=0

|2x|=-2x, for
x<0.

|x+6|=x+6, for
x>=-6

|x+6|=-x-6, for
x<6

From these condition, occure 3
cases:

1) x belongs to (-inf.,
-6)

-2x=-(-x-6)

-2x=x+6

-3x=6

x=-2
which is not in the interval (-inf., -6).

2) x belongs to
[-6,0)

-2x=-(x+6)

-2x+x=-6

-x=-6

x=6
which belongs to the interval [-6,0).

3) x belongs to
[0,+inf.)

2x=-x-6

3x=-6

x=-2,
which is not i the interval [0,+inf.).

The
only solution of the equation is
x=6.

d)  5= |x+4|+|x-1|

In
order to solve this equation, first let's see for what value of x,
|x+4|>0

|x+4|=x+4, for
x>=-4

|x+4|=-x-4, for
x<-4

Now, let's see, for what values of
x,|x-1|>0.

|x-1|=x-1, for
x>=1

|x-1|=-x+1, for
x<1

From these condition, occure 3
cases:

1)x belongs to (-inf.,
-4)

5=-x-4-x+1

8=-2x

x=-4
which is not in the interval.

2) x belongs to
[-4,1)

5=x+4-x+1

5=5,
for any value from [-4,1).

3) x belongs to
[1,+inf.)

5=x+4+x-1

2=2x

x=1,
which belongs to [1, +inf.)

e) |x-2| = 4
-|x-3|

In order to solve this equation, first let's see for
what value of x,  |x-2|>0

 |x-2|=x-2, for
x>=2

 |x-2|=-x+2, for
x<2

Now, let's see, for what values of
x,|x-3|>0.

|x-3|=x-3, for
x>=3

|x-3|=-x+3, for
x<3

From these condition, occure 3
cases:

1) x belongs to (-inf.,
2)

-x+2=4+x-3

2x=1

x=1/2
which belongs to  (-inf., 2).

2)x belongs to
[2,3)

x-2=4+x-3

-2=1, is not
true!

3) x belongs to [3,
+inf.)

x-2=4-x+3

2x=9

x=4.5which
belongs to [3, +inf.)

The solutions of the equation
are:

x={0.5,4.5}

How are Benedick and Claudio character foils for each other in Much Ado About Nothing?

Claudio and Benedick can be regarded as foils to one another for several reasons.  First, Claudio is the young soldier ("my lord Lackbeard"), while Benedick is a more seasoned veteran of battles.  Claudio is also the eager one concerning love and women - he falls head over heels for Hero, while Benedick scoffs at the idea of giving his heart to only one woman.  However, also on the subject of love, we find that Claudio, despite his sudden passionate regard for Hero, is also quite untrusting of Hero - he believes anything Don John, a known villain, tells him about Hero's virtue.  On the other hand, Benedick remains loyal and steadfast to Beatrice, once he is convinced of her love for him.  He even leaves his service to Don Pedro after Hero's disgrace, showing his loyal dedication to Beatrice and her family.

Give Much Ado About Nothing several close reads - I'm sure you'll find even more ways in which Claudio and Benedick are foils to one another!  Good luck!

In Lord of the Flies, how is civilization broken down throughout the beginning, middle, and end of the novel?

At the beginning of the book, the boys are at first delirious with freedom, especially Ralph but fairly quickly, the older boys realise the need for organisation.  The young'uns are scared and all the boys must be fed so there is the attempt to organise themselves. Piggy proposes the conch to maintain order.  Ralph proposes the fire for rescue and Jack wants to hunt for food.

In the middle of the novel, two camps develop, Ralph's and Jack's.  Jack's camp is concerned with hunting while Ralph is still trying to keep the fire going for rescue and building huts for protection.  As the boys become more and more 'wild' and caught up in the hunt, Ralph's attempts at civilisation begin to fail and more and more boys are lured by the promise of food and join Jack.

At the end, the boys have abandoned themselves to the hunt, first Simon is killed and then Piggy.  This leaves Ralph more or less alone and hunted by the other boys.  The boys have reverted to a wild state concerned only with hunting boar.  They haven't built any more huts, the fire is no longer being watched and they run around covered in mud and wearing leaves to cover themselves.   

In the Odyssey, why does Telemachus sail at night?Why does Telemachus start his voyage (to find news about his father Odysseus) at night?

Telemachus sails away in the night to find more information about his father Odysseus because Athena advises him to. Athena, the goddess of war and wisdom, is also the special guardian of Odysseus and his family. She wants to help him get home, and she hopes that his son Telemachus will aid in that. 

They have to leave in the night because of the suitors and because of his mother Penelope. If the suitors knew he was trying to leave, they would kill him. They are already frustrated because of Penelope's tricks to hold them back, and they are afraid of anything that might delay a possible marriage. Penelope, on the other hand, is terrified that Telemachus will never return. She has already suffered through one loved one going out to sea and not returning, and she cannot bear the thought of the same thing happening to her precious son. She definitely does not want him sailing off anywhere. They have been arguing a lot lately, over the suitors and over her steadfast hope that her husband will return. She also does not want to left alone to deal with the suitors. 

Throughout the book, the writer replaced the number "1" with an "I", but only on the chapter and page number. Why is this? At first I thought it...

Well, I have to say, I never paid too much attention about the "o"s and "I"s. I actually thought that it's the typeface's style. Anyway, I can try to explain the "I"s like this: "1" in the book, refers to God, or gods, and religion. The three different religions mentioned worship different gods but they all come down to one center belief of love in god and the world. Religion is in itself also a kind of way for men to relate themselves with the world. So, hence from changing "1" to "I", is the gesture of relating religion to oneself.

But on second thoughts, what I just did is probably an overanalysis (XDDD) so you can just delete it from your memory.

Why do you think Shakespeare wanted Romeo and Juliet to end this way? Do you think he was trying to say something?

Shakespeare's point? Infatuation makes people stupid. Romeo is a courtly lover--he takes sick, hopes for pity, and spends his hours pining for a woman who has rejected his every move towards her when the play opens. He continues to act impulsively and extremely as the play progresses. Even Juliet, arguably the most level-headed of the two, acts impulsively. She tells him she loves him (albeit unknowingly) before she's even had a second date, and then she offers to stand on form afterward--if he thinks he needs that.

Their deaths could have been avoided with a little patience and careful prodding, that's for certain. The issues around the ancient feud are also important, for the feud plays as great a part in the outcome as does the character of the two lovers. The commonality between the feuders and the lovers is that both act on intense, extreme emotion, are given to impulse, and create the ground that allows them all to become fortune's fool.