In the boy in the Striped Pajamas does Bruno ever find out what his dad does for a job and does he get mad?

From the first chapter of The Boy in the Striped Pajamas, Bruno is already aware that his father is a "man to watch" and is very important because he has seen how "visitors" treat his father and are deferential to him; soldiers and typists are particularly polite. Bruno's mother tells Bruno that his father has been tasked with doing "a very special job" which is why they have to move; something she is not happy about. Bruno admits to himself that he does not really understand his father's job to the point that he cannot explain it to others; unlike his friend Karl whose father is a greengrocer, something he can easily understand. He knows that his father is now a commandant, after a recent promotion, but he does not know what that infers and in chapter 7, Bruno congratulates his father on his new job without understanding anything more than smart uniforms and Bruno's father having made his grandfather very proud.  

In chapter 2, the family arrives in "Out-With" (Bruno's mispronunciation), and Bruno cannot believe that he will have to live in such a "desolate" place. He wants the family to return home to Berlin and becomes angry at more talk of his father's job when it is quite clear to Bruno that "Father should think twice about his job" (chapter 2). Bruno feels that he should voice his opinion because even though fathers are supposed to be "serious," and he says that "it doesn't matter whether they're or greengrocers or teachers or chefs or commandants," Bruno still recognizes that this is all a "bad idea."

Bruno decides to speak to his father about moving back to Berlin and wonders whether Father did something "that made the Fury angry" (chapter 5). Bruno knows that his father works for the (mispronounced) "Fury" ("a great leader" as he's described in chapter 11)  and that the "salute" is a very significant part of showing respect and he wonders why anyone would send his father to such a terrible place. In chapter 6, Bruno discusses the situation with Maria, the maid, and tells Maria that he doesn't think he trusts his father's judgment anymore but he does not understand what his father's job entails.

Even when he speaks to Shmuel, who dislikes soldiers, Bruno quickly defends his father; even wanting to be like him, "one of the good soldiers" (chapter 13). In chapter 16, Bruno is aware of his father's smart uniform "with the decorations" but he will still never understand what his father actually does. In chapter 19, even as Bruno stands among the people on Shmuel's side of the fence, after they have been called to march, Bruno wants to reassure them that marching is not so bad and that his father is  the Commandant so "it must be alright." He has no idea that moments later he will stand in the gas chamber and never be seen again. 

What makes The Boy in the Striped Pajamas historical fiction?

A book is classified as being in the historical fiction genre when it tells a fictional story that takes place in a historical setting.  The Boy in the Striped Pajamas is a fictional story, which takes place in another time (the early 1940s) and in a historic setting (Berlin and Auschwitz during the second World War).  

The author created a fictional character, Bruno.  Bruno was the son of the Nazi commander in charge...

A book is classified as being in the historical fiction genre when it tells a fictional story that takes place in a historical setting.  The Boy in the Striped Pajamas is a fictional story, which takes place in another time (the early 1940s) and in a historic setting (Berlin and Auschwitz during the second World War).  

The author created a fictional character, Bruno.  Bruno was the son of the Nazi commander in charge of Auschwitz.  Historically, there was a man in charge of Auschwitz who lived on the premises with his family.  The fictional characters of Bruno and his family were based on this real-life family, but were largely creations of John Boyne, the author.

Bruno's experiences in "Out-With" (what he calls Auschwitz) were based on historical fact.  Boyne described what Auschwitz was like during World War II.  He described the conditions of the prisoners there through characters like Pavel and Shmuel.  John Boyne did extensive research to make sure that the story aligned closely with historical facts.

Are there any works related to Oedipus the King or other versions of it from other cultures?

Oedipus himself is a part of the Theban dynasty, a family that was part of the mythical foundation story of the Greek city of Thebes. Many plays about this family exist in classical Greek. Cultures with no connection to ancient Greece would obviously not know of the story of a Greek king. Because much of Western culture was strongly influenced by the culture of ancient Greece, we do find numerous adaptations and retellings of the...

Oedipus himself is a part of the Theban dynasty, a family that was part of the mythical foundation story of the Greek city of Thebes. Many plays about this family exist in classical Greek. Cultures with no connection to ancient Greece would obviously not know of the story of a Greek king. Because much of Western culture was strongly influenced by the culture of ancient Greece, we do find numerous adaptations and retellings of the story in many modern Western literary works.

The story of Antigone, the daughter of Oedipus, is told in two modern French plays, Jean Cocteau's Antigone and Jean Anouilh's Antigone, both based on Sophocles' Antigone. Andre Gide's play Oedipe is a French adaptation of Sophocles' Oedipus Rex.

Leoncavallo's 1920 opera Edipo re was based on Sophocles' play. Carl Orff created musical versions of Antigone and Oedipus der Tyrann, and Stravinsky created an operatic adaptation of Oedipus Rex.

Sopocles' play was the basis for Pier Paolo Pasolini's movie Edipo Re. Although not a literary work, The Interpretation of Dreams by Austrian psychiatrist Sigmund Freud created the concept of the "Oedipus complex," which has had tremendous traction in popular culture.

What does The Odyssey say about the necessity of opposition for human growth? Please include examples.

The Odyssey, as is the case with most oral-traditional works, is highly agonistic, a story of conflicts that tend to be portrayed as purely oppositional, with one party winning and the other party losing. Conflict is seen simply as the human condition. 

The characters of an epic tend to be static rather than dynamic and The Odysseyis more of an action-adventure story than a psychological narrative. Odysseus himself changes little over the course...

The Odyssey, as is the case with most oral-traditional works, is highly agonistic, a story of conflicts that tend to be portrayed as purely oppositional, with one party winning and the other party losing. Conflict is seen simply as the human condition. 

The characters of an epic tend to be static rather than dynamic and The Odyssey is more of an action-adventure story than a psychological narrative. Odysseus himself changes little over the course of the poem; he begins as a clever, arrogant, slightly unscrupulous warrior, and retains that character throughout. The character who does develop is his son, the young Telemachus; one might be able to also make a case for Penelope showing her strength in adversity as well.

Although we do not know much directly about Penelope before the Trojan war, we can assume she would have been a typical upper class Greek woman, living a very sheltered life, not educated, and married off at the age of 12 to 14 to an older man. When left on her own with a young son, she devises a clever stratagem of weaving by day and unweaving by night to preserve Ithaca for Odysseus' return. Thus adversity has made her grow stronger.

Telemachus is an uncertain and rather diffident young man when he sets out on his quest to discover what happened to his father. As he completes his long and arduous journey, he develops more self-confidence and physical strength. In the scene where the suitors are challenged to string Odysseus' bow, Telemachus nearly succeeds, and is only prevented from doing so by Odysseus' stopping him. Evidence that the challenges he endured were devised to strengthen him by Athena can be seen in the following lines:

[Athena] gave no all-out turning of the tide, not yet, she kept on testing Odysseus and his gallant son, putting their force and fighting heart to proof.

What is a character sketch of Virginia from "The Canterville Ghost"?

Virginia in "The Canterville Ghost" is empathic, compassionate, active, courageous, gentle and pure. While her parents take a practical approach to the Ghost, scrubbing out the blood stains he leaves on the library floor with Pinkerton's Champion Stain Remover and Paragon Detergent, and while the Otis twins play mean jokes on the Ghost, Virginia shows her empathy by actually interacting with him. 

The Ghost notes "she had never insulted him in any way," and when...

Virginia in "The Canterville Ghost" is empathic, compassionate, active, courageous, gentle and pure. While her parents take a practical approach to the Ghost, scrubbing out the blood stains he leaves on the library floor with Pinkerton's Champion Stain Remover and Paragon Detergent, and while the Otis twins play mean jokes on the Ghost, Virginia shows her empathy by actually interacting with him. 

The Ghost notes "she had never insulted him in any way," and when she finds him in the Tapestry room, he looks so "forlorn" and "out of repair" that rather than run away, she is "filled with pity and determined to try and comfort him." She offers him a sandwich and when he tells her he has not slept in 300 years, "her little lips trembled like rose leaves." In this scene, she shows her empathy, not only pitying him but feeling his pain. She feels compassionate toward him as well, calling him "poor, poor Ghost."

She reveals her courage and compassion when she agrees to weep and pray for the Ghost to help him go to his final rest, even though it will mean seeing "fearful shapes in the darkness" and hearing "wicked voices." "I am not afraid," she says.

She shows she is active in two ways: first, she is an "Amazon" in the way she rides her horse around the Canterville grounds, but more importantly, she is willing to pray, weep and face demons to help the Ghost. As the saying goes, she "puts her money where her mouth is."

Finally, all through the story she is described as pure and gentle. Her name, Virginia, is both "all American" and contains "virgin," a word that connotes purity. It is her purity that makes it possible for her to intervene for the Ghost effectively. The Ghost calls her "gentle," and her actions in the story show a heart that wants to do the right thing with no thought of herself or of personal gain. She doesn't even want to keep the jewels the Ghost gives her, only the empty casket they came in. 

Virginia falls into the category of the Victorian "angel of the home," the pure female who can redeem the sins of others through her gentleness, faith and compassion. 

Why is Huckleberry Finn considered the realist of the story?

In Mark Twain's time romanticism (books about adventure, exotic places, extreme emotions, etc...) was popular. Twain was interesting in that although he was critical of romanticism, he also wrote it in the form of his stories about Tom Sawyer. This novel contrasts the different values of realism and romanticism through the characters of Tom and Huck. Tom is a romantic. He wants to create a gang of bandits to go on adventures like he has...

In Mark Twain's time romanticism (books about adventure, exotic places, extreme emotions, etc...) was popular. Twain was interesting in that although he was critical of romanticism, he also wrote it in the form of his stories about Tom Sawyer. This novel contrasts the different values of realism and romanticism through the characters of Tom and Huck. Tom is a romantic. He wants to create a gang of bandits to go on adventures like he has read about in his romantic novels. At the end of the story he even creates an elaborate plot to rescue Jim, even though he knows that such a plot is entirely pointless. This ends up getting him shot. 

Huck, on the other hand, is the realist. Huck is less interested in glory or adventure. He leaves home not for adventure but to escape his father. While he naively believes some of Tom's stories, as the story moves on he starts to see things from a more realistic perspective. For example, he aims to stop the Duke and King from pulling their scam. This is because he sees them for the criminals they are. Tom might have gone along with the performance, simply because it was exciting. While Huck is superstitious and naive at times, he does almost everything he does for practical purposes, not because he is recreating something he has read in an adventure story.

Why didn't Desiree go back to Valmonde?

When Desiree confronts Armand about their baby's appearance and asks him what it means, Armand tells her, "It means the baby is not white. It means you are not white." Although the story doesn't say so, Desiree must have written her mother after that and either told her what had happened and/or asked for advice. Desiree's mother sends a note telling her she should come back home to Valmonde, her mother's home. Desiree brings the...

When Desiree confronts Armand about their baby's appearance and asks him what it means, Armand tells her, "It means the baby is not white. It means you are not white." Although the story doesn't say so, Desiree must have written her mother after that and either told her what had happened and/or asked for advice. Desiree's mother sends a note telling her she should come back home to Valmonde, her mother's home. Desiree brings the note to Armand and asks him if he wants her to go, and he says he does. However, Desiree does not pack her things, and when she leaves the house with the baby, she walks off toward the bayou rather than taking the road to Valmonde. The story doesn't say why she made the choice she did. Like many things in the story, the details of her decision are left for the reader to ponder.

Because Desiree had now been categorized as not white, in other words, black, her social standing in her community would have been severely diminished. With the laws in effect in the South at the time, she would have been denied basic rights. Not only that, but all her social connections would be severed. She would no longer be able to fit into white society, and she would not be accepted among blacks either. Even moving into her mother's home would not have given her a life; she and her son would have lived in isolation with no prospects for a happy future. It is very likely that Desiree thought through that scenario and chose to end her life and her baby's life rather than face a life of disgrace and ostracism. The irony, of course, is that she probably was fully white; Armand had African heritage from his mother, although he probably does not realize that until Desiree has killed herself and the baby. 

Briefly summarize the book The Wind in the Willows in ten sentences or more.

The Wind in the Willows by Kenneth Grahame is about four anthropomorphic animals (animals who act like people)--Mole, Rat, Toad, and Badger. Mole first meets Rat when Mole tires of spring cleaning and decides to explore the world. Mole knows little of the world, and he has never seen a river. When he comes to the river, he meets Rat, who introduces his new friend to the wider world. Eventually, Rat takes Mole to...

The Wind in the Willows by Kenneth Grahame is about four anthropomorphic animals (animals who act like people)--Mole, Rat, Toad, and Badger. Mole first meets Rat when Mole tires of spring cleaning and decides to explore the world. Mole knows little of the world, and he has never seen a river. When he comes to the river, he meets Rat, who introduces his new friend to the wider world. Eventually, Rat takes Mole to Toad Hall, where the rich Toad lives. Toad is an eccentric character who constantly wants to try new things, including riding on a caravan and eventually becoming a motorcar driver. Mole is eager to meet the shy Badger, and he eventually does when he wanders out in a snowstorm, with Rat following him to keep him safe. Mole also discovers the tranquility that listening to the wind in the trees can bring. 

Much of the later parts of the book are about the misadventures of Toad, who is constantly crashing cars. Although Badger, Rat, and Mole try to prevent him from leaving Toad Hall, Toad escapes and is sent to jail for stealing a car. He escapes, and eventually Rat takes him back home, where the four friends rid Toad Hall of the weasels that had taken it over and live peacefully ever after.

In Othello, how does Shakespeare show the manipulation of Roderigo by Iago?

Shakespeare uses various instances throughout the play to illustrate Iago's malice and how easy it is for him to maneuver Roderigo into doing his bidding. We learn from the outset that Iago has some control over Roderigo, especially his money, for Roderigo tells him in Act I, scene 1:

...I take it much unkindly
That thou, Iago, who hast had my purse
As if the strings were thine, shouldst know of this.

Through their conversation, we discover that Iago is deeply embittered about the fact that his general, Othello, has appointed an outsider, Cassio, as his lieutenant instead of extending the honor to him, who has been his loyal and trusted servant. He has embraced Roderigo as a friend, more like a puppet, to assist him in avenging his humiliation for Othello's snub. The two are planning to sully the general's name and the idea is to awaken Brabantio, a senator, and inform him that Othello has abducted his daughter, Desdemona, and is at that very moment abusing her.

Iago hopes that this will result in Othello's dismissal and possible imprisonment, which will be an immensely gratifying situation to him. At the same time, he has convinced Roderigo that he will also profit from this malicious venture. Brabantio's address to Roderigo makes it clear that he had been attempting to woo the beautiful Desdemona but has been banished by Brabantio from his house and denied any contact with her. Roderigo is obviously infatuated with her.

We later learn that Iago has been using Roderigo's desire for Desdemona to manipulate the foolish young man, who seems to have more money than common sense. When their plot to have Othello shamed fails hopelessly because Desdemona has come to his defense and expressed her love for him, Roderigo is wholly distraught since Othello was to leave Venice and travel to Cyprus with her. Not only has he lost the chance of wooing her, but she will also be gone—a reality that the lovesick fool cannot bear. He tells Iago that he will commit suicide.

Iago dismisses Roderigo's threat that he will drown himself as a preposterous notion. He urges him to fill his purse with money (at least eight times) so that he may win Desdemona's hand. He tells Roderigo, in part, the following:

...It
cannot be that Desdemona should long continue her
love to the Moor,

...nor he
his to her: it was a violent commencement, and thou
shalt see an answerable sequestration:

These Moors are changeable in
their wills: ... —the food
that to him now is as luscious as locusts, shall be
to him shortly as bitter as coloquintida. She must
change for youth: when she is sated with his body,
she will find the error of her choice: she must
have change, she must: 

if sanctimony and a frail vow betwixt
an erring barbarian and a supersubtle Venetian not
too hard for my wits and all the tribe of hell, thou
shalt enjoy her;

Roderigo seeks Iago's assurance that he will hold good his promise to, as it were, deliver Desdemona to him. Iago says:

Thou art sure of me:—go, make money:—I have told
thee often, and I re-tell thee again and again, I
hate the Moor: my cause is hearted; thine hath no
less reason. Let us be conjunctive in our revenge
against him: if thou canst cuckold him, thou dost
thyself a pleasure, me a sport. There are many
events in the womb of time which will be delivered...

This is the foundation on which Iago's manipulation of Roderigo rests. He promises the desperately infatuated wreck that he will ensure success in his desire to win Desdemona's hand. All that Roderigo has to do is to provide him with money. He should also travel to Cyprus in disguise, where the two of them will plot Othello's cuckolding. Roderigo will have Desdemona and Iago his revenge. Roderigo then sets off to sell all his land and Iago states:

Thus do I ever make my fool my purse:
For I mine own gain'd knowledge should profane,
If I would time expend with such a snipe.
But for my sport and profit.

Roderigo is a mere plaything in his hands, there for his pleasure, and he intends to get rid of him later.

Iago's manipulation of Roderigo continues later in the play. He informs Roderigo that Cassio and Desdemona are having an illicit affair and that he should be removed. When Roderigo expresses doubt about his assertions regarding Desdemona's virtue, Iago tells him that she is driven by lust and that Cassio is a lecher. He asks him to draw out and anger Cassio, so that he may be dismissed.

...So
shall you have a shorter journey to your desires by
the means I shall then have to prefer them; and the
impediment most profitably removed, without the
which there were no expectation of our prosperity.

The two men succeed in this enterprise and Cassio loses his post. Roderigo, however, loses patience and has no money and wants to return to Venice. Iago tells him to be patient. He later confronts Iago, stating that he feels that he is playing him for a fool. He threatens to approach Desdemona and expose Iago's malice. Iago, however, charms the blustering clod and informs him of a new plan: Othello would be leaving for Mauritania and Cassius would be appointed in his post in Cyprus. Desdemona will leave with Othello, removing her even further from Roderigo. To prevent this from happening, they need to get rid of Cassio. The gullible Roderigo once again takes the bait and promises to assist Iago.

When Roderigo confronts Iago and threatens to expose his scheme, he essentially signs his own death warrant, for, later, after the altercation with Cassio in which the erstwhile lieutenant and Roderigo are both injured, Iago surreptitiously appears and kills Roderigo, thus removing the threat. Later, though, a letter implicating Iago is found on Roderigo's person, which, with Emilia's accusation, leads to his arrest, incarceration and torture.

Some people might claim that the spirit of Caesar influences the entire course of Shakespeare's play, Julius Caesar. Discuss this idea.

While Caesar is certainly not the main player on the stage of Shakespeare's Julius Caesar (he is, after all, dead by the middle of the third Act), it's still possible to argue that his spirit, or rather his character, continues to influence the entire course of the play.

This idea might surprise some readers. After all, it's pretty easy to see that the main plot of Shakespeare's play is more concerned with the tragic...

While Caesar is certainly not the main player on the stage of Shakespeare's Julius Caesar (he is, after all, dead by the middle of the third Act), it's still possible to argue that his spirit, or rather his character, continues to influence the entire course of the play.

This idea might surprise some readers. After all, it's pretty easy to see that the main plot of Shakespeare's play is more concerned with the tragic figure of Brutus and his fellow conspirators than with the eponymous emperor. Be that as it may, it's important to recognize that, if it weren't for Caesar's arrogant ambition to rule all of Rome, none of the events of the play would have ever taken place. As such, though Caesar himself does not play a major role in most of the events in Julius Caesar, his character is responsible for the drama that unfolds: his ambition to become emperor leads the conspirators to assassinate him, which in turns leads to a bloody civil war. As such, it would be very accurate to claim that the spirit of Caesar influences the entire course of the play.  

How did the Duke feel about Desdemona and Othello's marriage?

The answer to this question can be found in Act 1 scene 3, which you can read , along with our modern translation and notes on the text, by .

The Duke and Senators are discussing the situation in Cypress when Othello enters with some others, including Brabantio, who mentions that he's angry because Othello has stolen his daughter. Othello explains that Brabantio's daughter, Desdemona, has fallen in love with him and...

The answer to this question can be found in Act 1 scene 3, which you can read , along with our modern translation and notes on the text, by .

The Duke and Senators are discussing the situation in Cypress when Othello enters with some others, including Brabantio, who mentions that he's angry because Othello has stolen his daughter. Othello explains that Brabantio's daughter, Desdemona, has fallen in love with him and they are married. Saying that he is a 'man of action' and not much of a talker, Othello then launches into a very long explanation of how their love came about. At the end, the Duke says that his daughter would fall for Othello, too: "I think this tale would win my daughter too." (line 183) The Duke then tells Brabantio that he should just accept the situation: "Good Brabantio, / Take up this mangled matter at the best:" (lines 184-5)

Brabantio doesn't accept the Duke's advice, and insists on letting his daughter, Desdemona, tell her side of the story. Desdemona states that she chooses Othello and is loyal to him as her husband. The Duke tells Brabantio that he can't change what's happened (the marriage): "To mourn a mischief that is past and gone / Is the next way to draw new mischief on." (lines 219-20) and he must try to be happy: "The robb'd that smiles steals something from the thief; / He robs himself that spends a bootless grief." (lines 223-4)

So overall, the Duke seems satisfied that Othello did not "steal" Brabantio's daughter, but that she willfully entered into marriage with him. The Duke feels that Desdemona and Othello are married, what's done is done, and Brabantio has to accept it and move on. 

What is an example of an idiom in Chapter 7?

An idiom is a phrase whose meaning cannot be guessed from the individual meanings of its component parts. For example, kick the bucket is an English idiom for dying—if you did not know what the phrase as a whole meant, you would never be able to guess by the denotations of each of the words involved, because literally kicking a bucket has nothing in common with passing away. In Chapter 7 of The Magician’s Nephew...

An idiom is a phrase whose meaning cannot be guessed from the individual meanings of its component parts. For example, kick the bucket is an English idiom for dying—if you did not know what the phrase as a whole meant, you would never be able to guess by the denotations of each of the words involved, because literally kicking a bucket has nothing in common with passing away. In Chapter 7 of The Magician’s Nephew, while Digory is waiting for a sign of the return of the witch after she has left the house to (potentially) run amok in London, “he went into the dining-room and ‘glued his face,’ as they say, to the window.”  Here, glued his face to the window is an idiom—he of course did not literally glue his face to the glass, but rather he watched for anything out the window with unyielding vigor. So, the meaning of the phrase is not equal to the meaning of its individual parts.

What is Fitzgerald's version of the American Dream and how is it different than Gatsby's?

Comparing Fitzgerald’s vision of the American Dream to his most famous character’s vision of the American Dream is an intriguing and challenging task.

In brief, we might say that Fitzgerald, the author, was deeply ambivalent about the American Dream, having overtly attempted to climb the social ladder only to end up with his masterpiece going out of print. (Toward the end of Fitzgerald’s life, The Great Gatsby was purportedly no longer available for sale when the author stopped into a book store in Los Angeles.)

From a young age, Fitzgerald set out to join the elite and he had some success. However, this success was far from constant and was not without its (often public) ups and downs.

As part of a celebrity couple (with his wife Zelda) after the publication of his first novels, Fitzgerald lived what seems like a roller-coaster life.

“The couple had to lead extravagant lives to live up to their press clippings, and Fitzgerald’s work suffered for it. He borrowed from his publisher and agent and wrote short stories to finance the writing of his novels. […] Whenever he got ahead, he spent himself into debt again.”

In light of Fitzgerald’s views on the American Dream, anecdotes like these present complexities that are difficult to reduce or easily untangle.

Gatsby, to the contrary, embodies a sublime acceptance of the American Dream in ways that either ignore or subsume the inherent moral, ethical, social and psychological pitfalls that come along with an absolute pursuit of ambition.

Thus we can say that Fitzgerald, the man, has faced the American Dream and grappled with it only to be exhausted by it, while Gatsby, the character, refuses to wrestle with its complexities and so rides that Dream as far as it will take him.

“If personality is an unbroken series of successful gestures, then there was something gorgeous about him, some heightened sensitivity to the promises of life.… [Gatsby had] an extraordinary gift for hope, a romantic readiness such as I have never found in any other person and which it is not likely I shall ever find again.”

Prepared to deny any ideas that would compromise his chance to achieve the identity he has set out to create for himself (with its attendant cast of characters), Gatsby is closely tied to the ethos of self-creation and self-determination that underpin the American Dream.

In regards to the American Dream, he is an acolyte, a believer, almost a saint and almost a fawning sycophant. His dedication is pure and he feels no moral compunction in effacing himself (and his family and his history) in pursuit of this Dream.

These brief interpretations don’t take into account some of the challenges that a question about author-versus-character will tend to pose.

The first complication this question poses is in defining or describing Fitzgerald’s personally held views on the American Dream. These views are not necessarily represented directly in The Great Gatsby by any of the characters, from Nick Carraway to Jay Gatsby to George Wilson.

While Nick may seem at first glance to be the only stand-in for the author within the novel, Fitzgerald’s critics have suggested that a better way to view the novel is to see both Nick and Gatsby as different versions of Fitzgerald, each representing the author’s social sensibilities in different ways.  

In his personal life F. Scott Fitzgerald resembles both Nick and Gatsby. The divide between the naïve (yet jaded) Midwesterner and the essentially ambitious (yet romantic) rich bootlegger can be seen in the man behind the fiction.

“After [the author father] Edward Fitzgerald’s business failed in 1898, he became a wholesale grocery salesman for Procter and Gamble in Buffalo, New York. Edward was transferred to Syracuse, New York, in 1901 (when Scott’s sister Annabel was born) and back to Buffalo in 1903 before losing his job in 1908. The family then returned to St. Paul to live off the money Mollie had inherited from her father.”

Fitzgerald’s background would clearly seem to resemble the background he creates for Nick. Yet Fitzgerald’s adult life was one of extravagance and extremes, beginning with a romance that parallels the one between Gatsby and Daisy in The Great Gatsby.

“Zelda came from a prominent Montgomery family, her father being a justice of the Alabama Supreme Court. Zelda, considered the most popular girl in Montgomery, was attracted to Fitzgerald because they wanted the same things: success, fame, and glamour.”

The similarity between Fitzgerald and both of his two main characters creates a problematic scenario in light of the question at hand. We cannot simply contrast Gatsby to Nick and come away with a clear sense of the author’s own perspective.

Fitzgerald put himself into his characters but projected some of his unfulfilled desires onto them as well. 

Gatsby may be, in the end, a figure of tragic hope.

“Throughout his fiction, Fitzgerald mourns the loss of innocence and youthful ideals while recognizing the inevitability of this loss. The great American paradox, as posed by Fitzgerald, is that holding on to illusions is both destructive and necessary.”

Capable of accepting whatever loss may accompany the pursuit of his great dream, Gatsby is (almost) a hero figure. Does this mean that Fitzgerald really "believes" in the American Dream or, perhaps instead, that he would like to believe, simply, in that Dream as Gatsby does?

What is an ideology and do we need them in our lives?

Ideologies are belief systems based on ideas and constructs about the world and the people in it. For example, democracy is a political ideology based on the belief that people have the right to choose their leaders, laws, and so on. In terms of political systems, an ideology serves as the basis for how a nation will be governed, which is a fundamental aspect of collective living. 

Ideologies are usually shared between a group of...

Ideologies are belief systems based on ideas and constructs about the world and the people in it. For example, democracy is a political ideology based on the belief that people have the right to choose their leaders, laws, and so on. In terms of political systems, an ideology serves as the basis for how a nation will be governed, which is a fundamental aspect of collective living. 

Ideologies are usually shared between a group of people and serve as the basis for how those people think and behave. Capitalism, for example, is both an economic system and an ideology. Capitalism is a system in which manufacturing and the provision of services is provided by private businesses in exchange for consumer dollars. Yet it is also an ideology because it is undergirded by a particular set of beliefs about how a market economy will operate and to what extent it will intersect with the government or other institutions. For instance, if you live in a capitalistic society, you wouldn't go into a store and try exchange a sheep for a bag of oranges because capitalism dictates that you are expected to pay for the item you desire at the price it is being offered, which is usually in dollars, not sheep.

As for whether we need ideologies in our lives, that is a tricky question. Technically, we need very little to live (food, shelter, water); however, societies probably wouldn't be very successful without ideologies. As previously mentioned, ideologies heavily influence behavior, particularly around what is and isn't acceptable. Given that, it's hard to imagine a society creating laws or social order without an ideology to dictate what's considered right and wrong. So while it is technically possible for people to live without an ideology, it would make life very, very challenging.

What sort of diction is used in "Ballad of the Landlord"?

This poem tells the story of a black man being discriminated against by his white landlord. The poem has three different speakers, and the diction of each of these speakers tells the story of their relationship and the harsh reality of the discrimination faced by African-Americans in the 1930s.

When the black resident is speaking we see small clues to an African-American dialect: “’member” in the first verse, for “remember,” the use of “is” in “these steps is broken down,” “Ten bucks more’n I’ll pay you,” the use of “gonna” and the deletion of the helping verb in the present continuous later on, as in “You talkin’ high and mighty,” and the use of “ain’t.” In these first four verses, the diction is focused on injustice, becoming more and more confrontational as the poem progresses. The first verse is an innocent reminder about the leak the resident told the landlord about the week before; the second verse is a little tongue-in-cheek, the resident noting that “When you come up yourself/It’s a wonder you don’t fall down.” In the third verse we have we have the repetition of “Ten bucks you say,” which adds an element of incredulity to the resident’s voice, and stresses the fact that he believes the ten bucks are not legitimate. In the fourth verse, the resident begins with an exclamation:  “What?” He is getting more exasperated, and frames the following lines as questions, though it is clear the actions have already been taken. This disbelief further emphasizes the unfairness of the landlord’s actions – the resident didn’t see them coming, and he clearly had no reason to believe he would be evicted, because he had done nothing wrong.

When the white landlord is speaking, in the penultimate verse, there is no hint of a dialect – his helping verbs are intact, and there is no shortening of other words. In contrast to the helpless questions asked by the resident, the white man’s lines are marked with exclamation points and intense hyperbole – “He’s trying to ruin the government/And overturn the land!” Exaggerated lies – vague yet damning accusations. The white man is calling upon the patriotism of the police, an irony given how he himself is turning against the values his country was founded upon by discriminating against the resident. The first line of this verse – “Police!  Police!” parallels that of the first two verses spoken by the black man – “Landlord, landlord,” and the calmness of the latter contrasts to the exclamatory nature of the former.  Even when the resident was angry, all he could do was ask rhetorical questions, a sign of his helplessness in this situation; his landlord’s exclamations are in contrast a sign of his dominance.

In the final verse we have a neutral speaker, and instead of phrases or sentences we have lines made up of single words: “Copper’s whistle!/Patrol bell!/Arrest./Precinct Station./Iron Cell.” This at first mirrors the excitement of the preceding verse, and then the exclamation points are replaced by periods. Resignation. A blunt acceptance of the action. These single-word lines, despite their brevity, give us a perfect understanding of what’s happening, and represent the immediacy with which one thing follows another, as well as the unquestionable nature of these events: a black man is arrested, and this leads inevitably to jail time. No question. No real trial. It’s like a factory output of discrimination, mechanical and smooth. Finally, in the last lines of the poem, we get a newspaper headline in all-caps, to sum up what has (or has not actually) happened in the poem. The resident is polite and collected, is provoked over a matter of days through negligence and passive aggression by his landlord, and is then framed by the latter and arrested for no true crime.

Question about F1 and F2 phenotypes

Your question concerns pea plants. In peas, the gene for "tall" (T) is dominant, and the gene for "dwarf", or short (t) is recessive. When a plant that is homozygous dominant for "tall" is crossed with one that is homozygous recessive for "short", each parent can only give one type of gene. The tall parent is referred to as having a genotype of TT, and can only give "T" alleles; the short parent is of...

Your question concerns pea plants. In peas, the gene for "tall" (T) is dominant, and the gene for "dwarf", or short (t) is recessive. When a plant that is homozygous dominant for "tall" is crossed with one that is homozygous recessive for "short", each parent can only give one type of gene. The tall parent is referred to as having a genotype of TT, and can only give "T" alleles; the short parent is of the tt genotype, and can only give "t" alleles. Each offspring in the F1 generation is of genotype Tt; their phenotype (appearance) is that they are all tall because the gene for tall is dominant. This is your answer for part a of your question.

When the F1 plants (all Tt) are crossed with each other, however, each parent has an equal chance of passing on either the gene for tall (T), or the gene for short (t). If this information is used in a Punnett square, the F2 generation will have 25% of the plants TT (phenotype tall) 50% Tt (also tall, due to the dominant tall gene), and 25% tt (phenotype short), as only the plants with two recessive genes will show the trait for being short. Therefore, 75% of the F2 generation will be tall and 25% short; the ratio is 3:1. This is your answer for part b.

For part c of your question: the F2 generation is different from the F1 because the parent plants of each are different. The original parent generation could only give one type of gene each; the F1 generation, when they are crossed, could each give either type.

In Animal Farm, how is Mr. Jones portrayed in the first chapter?

Mr. Jonas is portrayed as taking advantage of his animals.

Manor Farm is not a very happy place for the animals.  The farmer, Mr. Jones, is at best negligent and at worse abusive.  He has a habit of getting drunk and forgetting to take care of his animals, or leaving the farm for long periods of time when his animals need attention.

Old Major vilifies Jonas in his speech to the animals about why they...

Mr. Jonas is portrayed as taking advantage of his animals.

Manor Farm is not a very happy place for the animals.  The farmer, Mr. Jones, is at best negligent and at worse abusive.  He has a habit of getting drunk and forgetting to take care of his animals, or leaving the farm for long periods of time when his animals need attention.

Old Major vilifies Jonas in his speech to the animals about why they should get rid of the humans.  He explains that Jones is taking advantage of the animals, and that everything they have is stolen by him—including often their lives.

And what has happened to that milk which should have been breeding up sturdy calves? Every drop of it has gone down the throats of our enemies. And you hens, how many eggs have you laid in this last year, and how many of those eggs ever hatched into chickens? The rest have all gone to market to bring in money for Jones and his men.  (Ch. 1)

Old Major also describes how animals are killed before they can grow old, or the ones who do grow old are killed as soon as they can no longer work.  No animal gets a peaceful and quiet retirement in his old age.

You, Boxer, the very day that those great muscles of yours lose their power, Jones will sell you to the knacker, who will cut your throat and boil you down for the foxhounds. As for the dogs, when they grow old and toothless, Jones ties a brick round their necks and drowns them in the nearest pond. (Ch. 1)

The animals all live this terrible existence because of the tyranny of man.  Man forces them to work for him, takes their young, and kills them whenever he feels like it.  The animals do all of the hard work, and Jones does nothing.  All he does is get drunk and forget to feed the animals or milk the cows.

Old Major's rhetoric is very convincing.  Soon Jones is too drunk to feed the animals and they decide to revolt.  They kick the humans out and take over the farm.  Unfortunately, many of the abuses Old Major described continue under the new regime of pigs.

What state capitals did the Watsons go through?

This is a difficult question because one must think of all the places the Watsons passed through on their way to Birmingham. The Watsons begin their trip in Flint, Michigan. Momma has created a notebook entitled "The Watsons Go to Birmingham" that contains all the plans for the trip.

Momma's schedule for the trip begins with the family driving from Flint, Michigan, to Cincinnati, Ohio. Wilona planned for them to stay overnight in Cincinnati and...

This is a difficult question because one must think of all the places the Watsons passed through on their way to Birmingham. The Watsons begin their trip in Flint, Michigan. Momma has created a notebook entitled "The Watsons Go to Birmingham" that contains all the plans for the trip.

Momma's schedule for the trip begins with the family driving from Flint, Michigan, to Cincinnati, Ohio. Wilona planned for them to stay overnight in Cincinnati and then continue on to Knoxville, Tennessee. Following this, she intended them to drive from Tennessee to Birmingham, Alabama. If Daddy had followed her plans, it would bring the Watsons through Michigan, Ohio, Indiana, Kentucky, Tennessee, and then Alabama. Although Momma has planned their route and stops very carefully, she doesn't count on Daddy deciding to drive the whole way through to save money on motels. Momma is angry when she finds out that Daddy has altered her plans, as she put a lot of effort into planning out the whole trip in her notebook.

There are no specific state capitals mentioned in the text. The capital of Michigan is Lansing, but the text only mentions the family driving through Flint. The capital of Ohio is Columbus, but only Cincinnati is mentioned. The capital of Tennessee is Nashville, but only Knoxville is mentioned. Finally, the capital of Alabama is Montgomery, but only the titular city of Birmingham is mentioned. There are no other specific cities mentioned in the other states along the Watsons's route.

What were Mussolini's political achievements?

Benito rose to power under very unlikely circumstances.  He was able to take advantage of the political and economic instability that existed in Italy. Originally a teacher and journalist, Mussolini was able to mobilize enough support for his fascist program to become the complete dictator of Italy in 1925. He mobilized 30,000 of his supporters to march to Rome in 1922 to demand that he be installed as prime minister.  He violently oppressed any political...

Benito rose to power under very unlikely circumstances.  He was able to take advantage of the political and economic instability that existed in Italy. Originally a teacher and journalist, Mussolini was able to mobilize enough support for his fascist program to become the complete dictator of Italy in 1925. He mobilized 30,000 of his supporters to march to Rome in 1922 to demand that he be installed as prime minister.  He violently oppressed any political opposition along the way.  By October, the king had installed a new government because Mussolini promised to restore order in Italy.  Mussolini was able to gain political support from key elements in the Italian population.  Because of his ability to solve the problem of unemployment, he was supported by industrialists and laborers alike.  He forged a strong alliance with the church as well.  Mussolini also garnered political support from the military as he supported Italian intervention in World War I and guaranteed future military glory to Italy. The corporate state that Mussolini created restored peace and stability for ten years in Italy.  

What are some things from Chapters 1-10 that show Lyddie is intelligent?

Lyddie shows intelligence and courage when the bear comes into their house, and when their mother leaves them.  She has to look out for the family and get a job.

Perhaps the greatest example of Lyddie’s intelligence and problem solving skills is the bear incident.  A bear comes into their house, and Lyddie is the one who takes charge of the situation and protects everyone.

"Don't nobody yell," she said softly. "Just back up slow and quiet to the ladder and climb up to the loft. Charlie, you get Agnes, and Mama, you take Rachel." She heard her mother whimper. "Shhh," she continued,her voice absolutely even. (Ch. 1)

Lyddie remains calm, and gets everyone out of harm’s way.  A bear would scare most girls, but she knows that she has to act because her mother is not fit to protect them.  She has not been the same since her little sister was born and her father left four years earlier.

Another example of Lyddie’s resolve and aptitude is in the selling of the calf.  Lyddie and her brother mated their cow without their mother knowing because they realized they would need the money.  They did not tell her about selling the calf either, because she would just give away the money.  She simply wasn’t in her right mind.  Lyddie sells the calf to a neighbor.

Lyddie gets a letter from her mother telling her that the land has been lent to pay debts, and the horse and cow sold.  Her mother doesn’t know about the calf, so they sell it anyway.

"She's letting out the fields and the horse and cow. She's sending you to be a miller's boy and me to housemaid. She's got us body and soul.  We got no call to give her the calf." She set one hand on her waist and straightened her aching back. (Ch. 2)

Charlie wants to give their mother the money, but Lyddie tells him that they are not obligated to.  She is protecting herself and her brother, even when her mother sold the farm out from under them and sold them too.

Despite all of these challenges, Lyddie still succeeds.  She goes to the pub where she has been told to work, but she stands up for herself.  When she gets fired, she finds another job as a factory worker.  Lyddie never gives up.  She succeeds at everything she does, and she maintains an attitude of absolute persistence.

How did art change during the Renaissance?

Artistic form and subject matter changed during both the early and late Renaissance. A middle class of wealthy merchants and tradesmen emerged during this historic time period as the proliferation of knowledge and the exchange of ideas flourished. The art of the period changed to reflect the changing attitudes of the populace.

Prior to the Renaissance, artwork was mainly based on religious subject matter but as the Renaissance progressed that changed to include the Gods and Goddesses of Greek and Roman mythology. A movement called Realism was born and the subject matter of artwork changed to include portraits of those in the new middle class and depictions of daily life.

Artists, including sculptors, employed symmetry, form, proportion, and perspective in their works. They found symmetry in nature and applied it in their works, this revelation is known as “the golden mean.” They experimented with the placement of objects in paintings to show perspective, depth, and dimension. When painting the Mona Lisa, da Vinci used a technique called Sfumato in which the hard lines in a painting are blurred thus creating softness as well as dimension. In addition, they attempted to perfect the use of light and shadows. Sculptors focused on creating the perfect human form.

How does pressure relate to chemical weathering?

Chemical weathering due to acid rain will be more likely near regions where fossil fuels are burned and that have low air pressure.  

To say that air pressure directly causes chemical weathering may be a bit of a reach. Weathering is the process that breaks apart rocks into smaller pieces. Chemical weathering breaks rocks apart by chemical means. As a result, the composition and molecular structure of rock may be changed.

Acid rain is...

Chemical weathering due to acid rain will be more likely near regions where fossil fuels are burned and that have low air pressure.  

To say that air pressure directly causes chemical weathering may be a bit of a reach. Weathering is the process that breaks apart rocks into smaller pieces. Chemical weathering breaks rocks apart by chemical means. As a result, the composition and molecular structure of rock may be changed.

Acid rain is one agent of chemical weathering. Acid rain is precipitation that is made acidic due to the presences of pollutants in the atmosphere. The burning of fossil fuels is one of the largest contributors of the production of acid rain. The carbon dioxide and sulfur that are emitted by the burning of fossil fuels dissolve into the water that condensates to form clouds. Thus, the precipitation formed by this water tends to be acidic.

Air rises near areas that have low air pressure. As air rises, it cools and condenses to form clouds and precipitation. Thus, the downfall of acid rain is more likely to occur near regions where fossil fuels are burned and have low air pressure. Thus, chemical weathering due to acid rain will be more likely to occur near regions where fossil fuels are burned and have low air pressure.

In The Merchant Of Venice, how does Lorenzo plan to disguise Jessica in order for her to escape from her father?

Lorenzo's plan is that Jessica should dress up as a boy and then be his torchbearer during a street festival. In this way, nobody would notice her and her camouflage would make others believe that she is his male assistant. Added to this is also the fact that festival-goers would be wearing masks which would not only hide Jessica's real persona, but would also mask his.

In Act 2, scene 6, Lorenzo arrives at Shylock's penthouse where his friends, Salarino and Gratiano are already waiting. He thanks them for their patience and assures that he will do the same for them should they ever need assistance in 'stealing' a wife. He then calls on Jessica who appears at the window and asks him to identify himself.

Jessica has already prepared for the elopement and now that her father, Shylock, has left, the moment is most opportune for her escape. She has already put on a boy's attire and is quite embarrassed about the fact, as shown in the following extract:

Here, catch this casket; it is worth the pains.
I am glad 'tis night, you do not look on me,
For I am much ashamed of my exchange:
But love is blind and lovers cannot see
The pretty follies that themselves commit;
For if they could, Cupid himself would blush
To see me thus transformed to a boy.

Jessica believes that even Cupid, the god of erotic love, attraction and affection, would be ashamed to see her changed into a boy. Lorenzo tells her to come down for she has to be his torchbearer. Jessica is practically mortified by the idea, for she believes that she has to 'hold a candle' to her shame. She does concede, however, that her shames mean nothing against the discovery of her love. She says that her identity should be hidden, though.

Lorenzo assures her that she is well disguised as a boy and compliments her. He urges her to hurry for the darkness ensures their secrecy. Jessica goes to fetch more of Shylock's money. In her absence, Lorenzo confirms his love for her to his two friends ans states:

...Shall she be placed in my constant soul.

Jessica returns and joins them after which she, Lorenzo and Salarino leave the scene.

The reason why the two lovers make such complicated arrangements to elope is because Jessica's father, Shylock, is a Jew who hates Christians. A relationship, never mind a marriage, between his daughter and Lorenzo, a Christian, would be akin to a betrayal. Furthermore, Jessica has also stolen many of her father's valuables, which, we discover later, are of greater importance to him than his daughter who he, shockingly, wishes to be dead. He'd rather have his ducats and his stolen possessions back, than her.   

What three suggestions does Brutus reject in Julius Caesar and why did he reject them?

Brutus disagrees with Cassius about swearing an oath, including Cicero, and killing Antony. 

Relative to Cassius and the other men who start the conspiracy, Brutus is a relative latecomer.  Cassius convinces Brutus to join by arguing Caesar must be stopped because he is a tyrant who will abuse his power.  Cassius tells Brutus that his name will lend legitimacy to their enterprise.  Brutus is not content to be a figurehead, however; he actually wants to lead. 

Nobility is very important to Brutus.  He wants to make sure the conspirators are seen as tyrant-killers and loved by the people.  For this reason, he wants to do everything in the proper way.  Cassius tries to advise Brutus, but time and time again Brutus does not take the Cassius’s advice.  He does things his own way. 

The fact that Brutus will not follow Cassius and has his own noble and idealized ideas about things is evident from the very beginning.  All of the conspirators meet at Brutus’s house in the middle of the night.  Cassius wants the conspirators to swear an oath to their cause, but Brutus countermands him immediately. 

CASSIUS

And let us swear our resolution.

BRUTUS

No, not an oath: if not the face of men,
The sufferance of our souls, the time's abuse—
If these be motives weak, break off betimes,
And every man hence to his idle bed;
So let high-sighted tyranny range on,
Till each man drop by lottery (Act II, Scene 1). 

As far as Brutus is concerned, the men should be loyal to the cause, not an oath.  Brutus wants to believe everyone's motivations are for the same noble reasons as his, which is actually quite naïve on his part.  The men have a variety of motives for wanting Caesar dead.  Some are patriots, but some are just greedy.

The next objection involves Cicero, the renowned orator.  Cicero was known to oppose Caesar, but he was also very famous.  Cassius suggests involving him, but Casca, Cimber, and Cinna immediately naysay the idea.  Brutus sides with them. 

BRUTUS

O, name him not: let us not break with him;
For he will never follow any thing
That other men begin.

CASSIUS

Then leave him out (Act II, Scene 1).

When Decius suggests they might want to kill other men, too, Cassius jumps on the suggestion.  He wants to kill Antony because he is Caesar’s right hand man and might be dangerous.  Once again, Brutus is completely against the idea.  He wants the killing of Caesar to be a noble act.

Our course will seem too bloody, Caius Cassius,
To cut the head off and then hack the limbs,
Like wrath in death and envy afterwards;
For Antony is but a limb of Caesar:
Let us be sacrificers, but not butchers, Caius.
We all stand up against the spirit of Caesar;
And in the spirit of men there is no blood (Act II, Scene 1).

Once again, Brutus is concerned with image.  He is more worried about the way the public will perceive their actions than the logistics of the actual assassination.  Rather than listen to Cassius’s counsel, he goes his own way.  In the end, Brutus's insistence on doing things his way will haunt him, as Antony is indeed dangerous.

An engine can pull a 500 metric ton load up an inclined plane rising 1m in 100m of horizontal distance with a speed of 10m per second. The...

Hello!

As I understand, "inclined plane rising 1 in 100" means that when travelling some distance along this inclined plane a body rises by 1/100 of that distance. In other words, the sine of an angle `alpha` of incline is `0.01.`

Also the metric ton is 1000 kg, so the mass m of a load is 500,000 kg.

Please look at the attached free-body diagram. There are 4 forces acting on a body: the gravity force...

Hello!

As I understand, "inclined plane rising 1 in 100" means that when travelling some distance along this inclined plane a body rises by 1/100 of that distance. In other words, the sine of an angle `alpha` of incline is `0.01.`

Also the metric ton is 1000 kg, so the mass m of a load is 500,000 kg.

Please look at the attached free-body diagram. There are 4 forces acting on a body: the gravity force `mg` downwards, the friction force `F_f` down along an incline, the reaction force `N` up perpendicularly to an incline and the traction force `F_T.`

Because a load moves with the constant speed `V` (no acceleration), the forces are balanced by Newton's Second law. Consider the x-axis parallel to an incline and consider the projections of the forces on it.

`F_T-F_f-mg*sin(alpha)=0`   (`N` is perpendicular to the x-axis and vanishes in this projection), so

`F_T=F_f+mg*sin(alpha).`

All the quantities at the right side are given.

Now find the power. It is by definition the work divided by the time `t.` Work is equal to `F_T*(V*t)` because the distance is `V*t` and the force and the displacement have the same direction. So the power is equal to

`(F_f+mg*sin(alpha))*V.`

In numbers it is (2000+500,000*9.8*0.01)*10=510,000 (watts) = 510 kilowatts.

The answer: the power of the engine is 510 KW.

In what act and scene does Macbeth try to wash Duncan's blood from his hands?

In Act II, Scene 2, when Macbeth enters still holding two bloody daggers and with both hands covered in blood, Lady Macbeth directs the audience's attention to the daggers and blood:

Go, get some waterAnd wash this filthy witness from your hand.Why did you bring these daggers from the place?They must lie there. Go carry them, and smearThe sleepy grooms with blood.

But she is forced to carry out her own...

In Act II, Scene 2, when Macbeth enters still holding two bloody daggers and with both hands covered in blood, Lady Macbeth directs the audience's attention to the daggers and blood:

Go, get some water
And wash this filthy witness from your hand.
Why did you bring these daggers from the place?
They must lie there. Go carry them, and smear
The sleepy grooms with blood.

But she is forced to carry out her own instructions, since her husband refuses to do so. He tells her:

I'll go no more:
I am afraid to think what I have done;
Look on't again I dare not.

When she leaves, Macbeth looks at his bloody hands and speaks the following:

Will all great Neptune's ocean wash this blood
Clean from my hand? No, this my hand will rather
The multitudinous seas incarnadine,
Making the green one red.

Here, "suiting the action to the word, the word to the action," the hallucinating Macbeth is presumably attempting to wash his hands in a conveniently situated basin. He imagines that he is failing to wash them, even in all the world's oceans, because his hands are so bloody. When Lady Macbeth reenters, she notices that her husband's hands are still covered with blood. She displays her own-now bloody hands and says:

My hands are of your color, but I shame
To wear a heart so white.

Presumably, Macbeth, continuously hallucinating, had tried to wash his hands in an empty wash-basin. His wife explains this to the audience by saying:

Your constancy
Hath left you unattended....
Be not lost
So poorly in your thoughts.

What is the significance of this quote from Othello? "Ere I would say, I would drown myself for the love of a guinea-hen, I would change my...

The above quote originates from Act 1 Scene 3 in Othello where Roderigo complains bitterly about losing Desdemona to Othello. Iago, of course, is unsympathetic. He advises Roderigo to pull himself together and to keep his wits about him.

When Roderigo whines that he might as well die, Iago pipes up:

Oh, villainous! I have looked upon the world for four times seven years, and since I could distinguish betwixt a benefit and an injury...

The above quote originates from Act 1 Scene 3 in Othello where Roderigo complains bitterly about losing Desdemona to Othello. Iago, of course, is unsympathetic. He advises Roderigo to pull himself together and to keep his wits about him.

When Roderigo whines that he might as well die, Iago pipes up:

Oh, villainous! I have looked upon the world for four times seven years, and since I could distinguish betwixt a benefit and an injury I never found man that knew how to love himself. Ere I would say I would drown myself for the love of a guinea hen, I would change my humanity with a baboon.

Here, Iago says that, in all the twenty-eight years he has lived on earth, he's never met a wise man who knew how to promote his own interests effectively. Then, he brings in the imagery of the 'guinea hen' and the 'baboon.' The guinea hen is an euphemism for a prostitute in the Shakespearean era. Basically, Iago is saying that he wouldn't even think of drowning himself for a woman of such ill worth as Desdemona. It's all pretty insulting, but he's trying to get Roderigo to calm down because he needs his help to destroy Othello.

The baboon reference is an insult to Othello; it is a reference to the animal sexuality of a black man in Shakespearean England. Remember that in Act 1, Iago warns Brabantio that 'an old black ram (Othello) /Is tupping your white ewe (Desdemona).' Again, the black ram reference is a sexual one, just like the baboon reference; the two imply that all black men are hyper-sexual creatures who will ravish innocent and defenseless white women. Iago appropriates the imagery of animals to refer to Othello, the man he thoroughly despises; he's saying that he would never exchange his humanity for that of a baboon's (of course, here, Othello is the baboon).

If you want to know more about Shakespearean insults, try reading this book:

Shakespeare's Insults: A Pragmatic Dictionary.

Do you think Zaroff would have kept his word to Rainsford?

The day after meeting Zaroff, Rainsford demands to be let off the island.  Zaroff responds by making a "deal" with Rainsford.  Rainsford may leave the island on Zaroff's boat if Rainsford survives being hunted for three days.  

"I'll cheerfully acknowledge myself defeat if I do not find you by midnight of the third day," said General Zaroff. "My sloop will place you on the mainland near a town."

I do think that Zaroff would...

The day after meeting Zaroff, Rainsford demands to be let off the island.  Zaroff responds by making a "deal" with Rainsford.  Rainsford may leave the island on Zaroff's boat if Rainsford survives being hunted for three days.  

"I'll cheerfully acknowledge myself defeat if I do not find you by midnight of the third day," said General Zaroff. "My sloop will place you on the mainland near a town."

I do think that Zaroff would have kept his word to Rainsford.  The previous day, Zaroff took pains to show that he was a civilized gentleman.  

"I have electricity. We try to be civilized here."

In addition to the electricity, Zaroff had a wonderful meal cooked and served it with expensive wine.  To not honor his deal, would go against his desperate need to act as a civilized gentleman.  

"Oh, you can trust me," said the Cossack. "I will give you my word as a gentleman and a sportsman."

I don't even think that Zaroff would be mad at Rainsford for winning the three day battle.  Zaroff might be mad at himself, but he would further respect Rainsford's abilities, knowledge, and ingenuity.  If Rainsford would survive, Zaroff would see him as an equal.  Zaroff wouldn't see Rainsford as a weak human that deserves to be hunted and killed.  He would see Rainsford as strong; therefore, Rainsford would be someone that deserves to continue living. 

"Life is for the strong, to be lived by the strong, and, if needs be, taken by the strong."

How do you describe how someone showed bravery or courage in "Rikki-tikki-tavi" using the words demonstrate, exhibit, display, or illustrate?

Rikki showed courage in this story by facing down two cobras (and little Karait) in order to protect his family. All of the words that you have provided are synonyms. This means that they are similar enough that they could probably be used interchangeably.

Let’s take the first word, “demonstrate.” The first time Rikki showed bravery was by the way he reacted to being washed away and finding himself in a new place with the British family. They rescued him and invited him into their home, and he reacted with curiosity instead of fear.

He spent all that day roaming over the house. … At nightfall he ran into Teddy's nursery to watch how kerosene-lamps were lighted, and when Teddy went to bed Rikki-tikki climbed up too; but he was a restless companion, because he had to get up and attend to every noise all through the night, and find out what made it.

Using the word “demonstrate” you could write a sentence like this.

Rikki-tikki demonstrated courage by moving in with the family and exploring their house.

The next word is “exhibit.” It means “to show.” Rikki showed bravery by how he reacted to Nag and Nagaina, the cobras.

He was afraid for the minute; but it is impossible for a mongoose to stay frightened for any length of time, and though Rikki-tikki had never met a live cobra before, his mother had fed him on dead ones, and he knew that all a grown mongoose's business in life was to fight and eat snakes.

You could write a sentence about this incident using the word “exhibit.”

Rikki-tikki exhibited courage by standing up to Nag and not allowing Nagaina to trick him.

Since the word “display” is similar to “exhibit,” you could describe Rikki’s fight with Nag.

Rikki-tikki displayed courage when he searched for Nag and killed him before he could target the family.

Finally, that leaves “illustrate.” This word also means “to show.”

Rikki-tikki illustrated courage when he used Nagaina’s eggs against her and followed her into her hole.

In the end, Rikki-tikki defeated all three snakes, and kept the garden free from snakes from thereon.

What are some quotes from Life of Pi regarding Richard Parker "saving" Pi's life?

There are many references that Pi makes to Richard Parker, either directly or indirectly, saving his life over the seven months that he is adrift at sea. First, on page 136, Pi says that if it weren't for the fact that Richard Parker was under the tarpaulin, the hyena would have eaten him. He explains that the hyena wouldn't want to eat the stronger predator's food, so Pi was reserved by the hyena for the tiger. The only problem after that is the fact that there are two predators on board that could kill Pi, not just one.

Next, in chapter 57, Pi says that Richard Parker calms him down, which is ironic, because he also incites the greatest fear in him as well. Pi explains as follows:

"If I still had the will to live, it was thanks to Richard Parker. He kept me from thinking too much about my family and my tragic circumstances. He pushed me to go on living. . . without Richard Parker, I wouldn't be alive today to tell you my story" (164).

Then, Pi comes up with a plan to tame Richard Parker, thereby claiming his position as the alpha male of the territory. Pi explains that predators don't usually attack each other; so, if Pi can establish himself as a predator, rather than prey, this will help to tame the tiger and save his life. Fortunately, something else about the tiger's motivation saves Pi's life as follows:

"If I survived my apprenticeship as the high seas animal trainer, it was because Richard Parker did not really want to attack me" (206).

Pi proceeds to explain that Richard Parker gives him four warnings before he attacks. These warnings are life-savers because once Pi learns this, boundaries are more clearly defined for survival of both of them.

One way that Richard Parker directly saves Pi's life is with the human they encounter in chapter 90--another castaway. When the man tries to kill Pi, it is Richard Parker who kills him instead.

"He gave me a life, my own, but at the expense of taking one. He ripped the flesh off the man's frame and cracked his bones. . . Something in me died then that has never come back to life" (255).

Many of the times that Pi says Richard Parker saved his life is psychological in nature. The only time that Richard Parker physically steps in and saves Pi's life directly is as shown above in chapter 90. When the reader discovers that the whole story has an alternate, real-life application, it is possible to infer that Richard Parker actually represents Pi's alter ego--the life-saving/survival one. If this is actually the case, then it is Pi's sense of survival that saved his life, not an imaginary tiger.

What does Carle realize on the second night in "And of Clay We Are Created?"

During the second night Rolf Carlé spends with Azucena in Isabel Allende’s “And of Clay We Are Created,” he realizes through her suffering he cannot escape his tormented past.

As he stays with the child,who is burning in clay from the volcanic eruption, the demons of his childhood in Europe come to haunt him and he must confront them. In some ways, her plight is parallel to his. As a child, he was abused by...

During the second night Rolf Carlé spends with Azucena in Isabel Allende’s “And of Clay We Are Created,” he realizes through her suffering he cannot escape his tormented past.

As he stays with the child,who is burning in clay from the volcanic eruption, the demons of his childhood in Europe come to haunt him and he must confront them. In some ways, her plight is parallel to his. As a child, he was abused by his father and locked in an armoire for hours at a time for deeds he did not commit. This made him feel as though he was buried alive. He also sheltered his sister, who had Down’s Syndrome, from their father who found her to be a disappointment. Together, they hid under a dining room table that was draped with a large tablecloth. He witnessed evidence that his mother was abused, and he was forced to bury the dead in concentration camps.

During that second night, he realized he lived his whole adult life taking extraordinary chances to compensate for the trials he lived through during his youth. He is spent from these revelations and deteriorates into tears.

Why does Atticus defend Tom Robinson in To Kill a Mockingbird? (I know he is the only one who is capable for giving a fair shot at a trial for Tom...

Since Atticus Finch has always held to liberal principles, he feels that he must defend Tom Robinson as a matter of upholding his personal as well as his professional beliefs. In other words, he must "practice what he preaches."

It is, indeed, a matter of personal integrity for Atticus to act as the defender for Tom Robinson in his unjust trial for rape. As Atticus explains to his brother Jack in Chapter 9, he feels...

Since Atticus Finch has always held to liberal principles, he feels that he must defend Tom Robinson as a matter of upholding his personal as well as his professional beliefs. In other words, he must "practice what he preaches."

It is, indeed, a matter of personal integrity for Atticus to act as the defender for Tom Robinson in his unjust trial for rape. As Atticus explains to his brother Jack in Chapter 9, he feels that he must take on the task in the hope that by doing so, he can at least prevent his children from "catching Maycomb's usual disease." And, as the only lawyer in town who will truly try to uphold the "justice for all" under which legal trials should be conducted, Atticus feels it is his professional obligation to accept the position as defender.

Further, in Chapter 11, Atticus tries to prepare Scout for "worse things" than the insults of Mrs. Dubose as the trial for Tom nears. He hopes that she and Jem make look back on his defense of Tom

"...with some compassion and feeling that I didn't let you down. This case, Tom Robinson's case, is something that goes to the essence of a man's conscience--Scout, I couldn't go to church and worship God if I didn't try to help that man."

With these words to his daughter, Atticus expresses his personal obligation as a Christian to defend Tom Robinson as well as to affirm his personal and professional ethics.

Why does Hamlet think he has the "motive and cue for passion"?

In this soliloquy, "O, what a rogue and peasant slave am I," Hamlet reflects on the actor he has just seen playing a part. Hamlet can't get over how well this man, who plays the part of a woman, Hecuba, is able to pretend to emotions he doesn't really feel. He cries, shows distress, has a "broken voice," all to play the part of a woman from thousands of years ago who lost her husband...

In this soliloquy, "O, what a rogue and peasant slave am I," Hamlet reflects on the actor he has just seen playing a part. Hamlet can't get over how well this man, who plays the part of a woman, Hecuba, is able to pretend to emotions he doesn't really feel. He cries, shows distress, has a "broken voice," all to play the part of a woman from thousands of years ago who lost her husband in the Trojan war. What can Hecuba possibly mean to this actor, Hamlet wonders. Why should he "weep for her?"

Then Hamlet compares this actor's faked grief to his own real grief, asking what the actor would do if he had "the motive and the cue for passion" that Hamlet had. This statement means that Hamlet has a "motive"--a reason--and a "cue"--a prompting--to be upset that is quite real. "Cue" is a pun on an actor's cue--what someone will whisper to an actor off stage so he knows it is his time to act. Hamlet has both the death of his father and the cue from the ghost that his father was murdered to drive his emotions into a frenzy, and yet he is paralyzed, can't act. He is very upset with himself over this state of affairs. "Why, what an ass am I!" he cries. 

Mr. Dolphus Raymond once had a fiancée, but she killed herself. How and why has this happened?

The fiancée of Mr. Dolphus Raymond left her wedding rehearsal after it was over, went upstairs and killed herself by using a shotgun that was pointed at her head, having pulled the trigger with her toes. Rumor has it that she was humiliated and horrified at learning that her fiancé had a "colored woman" that he hoped to keep while he was also married.

In Chapter 16, people from the county as well as the town flock...

The fiancée of Mr. Dolphus Raymond left her wedding rehearsal after it was over, went upstairs and killed herself by using a shotgun that was pointed at her head, having pulled the trigger with her toes. Rumor has it that she was humiliated and horrified at learning that her fiancé had a "colored woman" that he hoped to keep while he was also married.

In Chapter 16, people from the county as well as the town flock to the square outside the courthouse in order to attend the trial of a Negro accused of raping a white woman. In the midst of this activity of all types of people that resembles what Miss Maudie calls a "Roman carnival," one of the more curious and complex characters there is Mr. Raymond Dolphus. Born into a prestigious family in Maycomb, Mr. Dolphus is an anomaly because he has left his family home and lives in the "colored area with his woman and mixed children, two of which he has supposedly sent up North. Also, he has purportedly been a drunkard since the suicide of his fiancée, and he is often seen going around with a drink enclosed in a paper bag, but he is really only drinking Coca-Cola. He pretends to be a drunk so that people can reconcile his behavior with his personal "weakness," rather than his repulsion for racial bias and cruelty.

Harper Lee uses the tableau of the people around the town square as a means of presenting the attitudes of those who live in Maycomb county. The social pariah of Dolphus Raymond and his history points to how firmly entrenched the "usual disease," as Atticus terms it, is. After learning that his fiancée was so "humiliated" and emotionally devastated by his personal association with blacks that she felt she had no choice but to brutally end her life, Mr. Dolphus leaves white society and tries to keep anyone else from hating him so much that they would seek violence as an answer. He feigns being a drunkard so that they can reconcile his own behavior. In this way they believe, "He can't help himself, that's why he lives the way he does."

Who are Gertrude's enemies in the play Hamlet?

In a play defined by vengeance and betrayal, Gertrude is unique in that in many ways she actually has no enemies. None of the play's major characters are plotting to harm Gertrude. Claudius wants her as his wife, and so his treacherous plots against the older Hamlet and later against her son do not include her. Additionally, even though the older Hamlet's ghost shows distaste for Gertrude's actions, he makes a point to stress that...

In a play defined by vengeance and betrayal, Gertrude is unique in that in many ways she actually has no enemies. None of the play's major characters are plotting to harm Gertrude. Claudius wants her as his wife, and so his treacherous plots against the older Hamlet and later against her son do not include her. Additionally, even though the older Hamlet's ghost shows distaste for Gertrude's actions, he makes a point to stress that his son should not harm her. 

That said, there are many ways in which she certainly does have enemies. While he never plots to kill her, the younger Hamlet still views her as playing a role in his father's betrayal. He calls her lustful and frail. He plots to unravel her marriage by killing her husband. In this sense, her son could be seen as a less direct form of enemy. From another perspective, Claudius could be considered her enemy. She shows signs of affection for her new husband, but she does not seem to know that he has murdered her last husband. By pulling her unknowingly into his treachery and starting a deadly conflict with her son, Claudius does her great harm. In this sense, he is her enemy, even if she does not realize it.

From a very simple perspective the Norwegian armies plotting to attack Denmark could be considered her enemies as well.

What does Katniss believe will be the consequences of her action in her private audition with the Gamemakers in The Hunger Games?

Katniss fears retribution from the Gamemakers for shooting the apple.

Katniss volunteers to take her sister’s place as tribute in the Hunger Games because her sister is too young and has no survival skills.  Katniss, on the other hand, is an expert with a bow and arrow.  During the evaluation period where the tributes are supposed to show off their skills, the Gamemakers completely ignore Katniss so she loses her temper and shoots an arrow directly at the Gamemakers.

Without thinking, I pull an arrow from my quiver and send it straight at the Gamemakers’ table. I hear shouts of alarm as people stumble back. The arrow skewers the apple in the pig’s mouth and pins it to the wall behind it. Everyone stares at me in disbelief. (Ch. 7)

The arrow does not actually hit anyone, of course.  Katniss is not ready to murder.  She is demonstrating her contempt for the games and all they stand for with this gesture.  She has had it, and her emotions got the best of her.

Katniss is convinced that her actions will get her into big trouble. The Capital is not known for its sense of humor, and does not appreciate acts of defiance or rebellion.

Now I’ve done it! Now I’ve ruined everything! If I’d stood even a ghost of a chance, it vanished when I sent that arrow flying at the Gamemakers. What will they do to me now? Arrest me? Execute me? (Ch. 8)

She knows that she is at the mercy of the Gamemakers, and has been since she volunteered.  Actually, she has been at their mercy for years because she had to buy extra entries into the games just to feed her family.  She knows that they can do anything they want to her.  She is afraid they might take retribution by targeting her family.

Katniss cries until dinner, and then when Haymitch asks her what happened she tells him.  He tells her that they will not arrest her because it would be a pain to replace her, and they will not likely take retribution against her family because people would ask questions.  What had happened was private, and no one but the Gamemakers knows about it.

Portia tells Katniss that scores only matter if they are very good.  When she receives a very high score, an eleven, she is shocked.  This score makes her a target for everyone in the games.  They know that she is good.  The Gamemakers got their revenge.

What is good about Atticus's advice to Scout?

Atticus gives Scout advice frequently throughout To Kill a Mockingbird, but probably the most well-known and most often referenced is when he says:

You never really know someone until you consider things from his point of view... until you climb into his skin and walk around in it.

In other words, we cannot know a person until a have tried to look at things from his perspective. This can help us to look beyond...

Atticus gives Scout advice frequently throughout To Kill a Mockingbird, but probably the most well-known and most often referenced is when he says:

You never really know someone until you consider things from his point of view... until you climb into his skin and walk around in it.

In other words, we cannot know a person until a have tried to look at things from his perspective. This can help us to look beyond the surface and refrain from judging a person based on appearances or little information, and in turn might help us act a bit kinder toward one-another. This advice proves to be important to Scout many times throughout the novel. It helps her make sense of others' actions, including Boo Radley and Bob Ewell. Ultimately, it teaches her to have empathy for others and refrain from judging them until she has tried to understand their circumstances. For example, Mayella Ewell is someone in the novel who comes from difficult circumstances and is considered an outsider in Maycomb. When she testifies in court, Scout is able to have empathy for Mayella because she tries to understand those difficult circumstances rather than judge her on the surface.

To what length did the idea of Totalitarianism exist in Nazi Germany and in the Soviet Union under Stalin? Give the uttermost detail with lots of...

There are two slightly different senses of "totalitarianism", but both of them fit both Germany under Hitler and the USSR under Stalin perfectly.

In the first sense, a totalitarian government is any government that seeks to completely control the behavior of its citizens, through constant surveillance, strict laws, and brutal enforcement.

In the second sense, a totalitarian government is one that fits the above description, and in addition is largely or entirely controlled by a single individual who acts as an absolute dictator.

Detailing all the examples of totalitarianism in these two states could fill entire books (indeed I'm fairly sure it has), but here is a brief summary:

Under Hitler: The government had total control over the media, and used propaganda heavily to manipulate public opinion. They had secret militarized police who arrested, detained, and even executed people without trial, often for "crimes" such as being Jewish or disagreeing with the government. Hitler himself, called the Fuehrer (meaning basically "Leader"), had essentially absolute power. 

Under Stalin: The government instituted mass surveillance, monitoring letters and phone calls, and planted spies everywhere to monitor the population. Their system of espionage was the most powerful in the world. The media was heavily censored. School curriculum was dictated according to the interests of the Communist Party, resulting in large distortions of content especially in history and social sciences (but also even physics and biology, lauding the "achievements" of minor Soviets while downplaying anything invented by Westerners; also Darwinian evolution was viewed as anti-Soviet and was thoroughly excluded). Stalin himself had absolute power and used it ruthlessly, frequently ordering the detention or execution of people for believing the wrong things or even simply because he didn't like them. Stalin was so ruthless indeed that he detained members of his own family when they crossed him. Millions of people, mostly political dissidents, were rounded up into labor camps.

In both cases, a single man held enormous power over a government that itself had near-total authority over the behavior of its citizens. Everything you could read or see on television was controlled. You had to be careful what you said, lest secret police come to take you away. Millions of people were murdered by both governments.

There are many similarities between the two systems of government, but also many important differences. Hitler loved corporations and sought to integrate them into his system of government as a kind of capitalist oligarchy. Stalin (and other Soviet leaders before him) abhorred corporations and had them all completely dismantled and replaced by new government-controlled institutions that were far more corrupt and inefficient. Hitler's mass murder was explicitly genocidal, particularly against Jews, while Stalin's was much more political and based on eradicating political dissent.

I could easily go on, but hopefully that will get you started.

I need a strong thesis statment for my essay on Oedipus the King and Oedipus at Colonus.

The most unusual part of this essay project is that you are asked to deal with both plays, so your thesis should be on the character who appears in both plays. When dealing with this kind of subject, it is fruitful to compare not simply the character itself, but the supporting characters – how their relationship with the main character differs or changes from one play to the next. If Oedipus was enlightened by the...

The most unusual part of this essay project is that you are asked to deal with both plays, so your thesis should be on the character who appears in both plays. When dealing with this kind of subject, it is fruitful to compare not simply the character itself, but the supporting characters – how their relationship with the main character differs or changes from one play to the next. If Oedipus was enlightened by the first play’s events, does he demonstrate a better relationship with, for example, the Chorus in the second play? And does his physical blindness make him “see” things more clearly?

If you were casting both plays, would you cast Oedipus himself differently in both plays? So a good thesis statement might answer the question “To what degree should these plays be considered two separate creative efforts rather than a play and its sequel?” Particularly intriguing about the later play is that his daughters Antigone and Ismene (and, in offstage action reported by Ismene, his sons Eteocles and Polynices) play such important roles in not only Oedipus’ life, but in the fate of several Greek city-states – Colonus to be sure, but also Thebes and Athens.

Should Japan have adopted a position of isolation at the start of the Edo period?

In general, isolationism is not a good idea. The more you separate yourself from the rest of the world, the easier it is to fall behind technologically and economically. Isolation denies you the enormous benefits of trade and cultural sharing, and while it seems to protect you from attack for awhile eventually it can put you in even more danger as other nations overtake you technologically and don't have the interdependence of culture and trade to deter them from attacking you.

For example, while France has a strong military and a substantial nuclear arsenal, these are not the reason the US does not invade France. The US and France both share so much culture and trade that it would be a clear loss to both of them to engage in hostilities, regardless of the outcome of the war; more than that, we even think of each other as friends and would never want the other to come to harm. Indeed, this is now largely the relationship between the US and Japan---but it certainly wasn't during the Edo Period. (The US was actually founded in the middle of the Edo Period; but due to Japan's isolationism, they hardly seemed to notice.)

That said, if anyone could get away with isolationism, it would be Japan. (The second would be the United States, and we also went through some significant periods of isolationism, albeit nowhere near as long as Japan did.) The geography of the islands of Japan makes the entire country essentially a natural fortress, which was basically impervious to attack until the invention of airplanes. Their isolation from other countries combined with their high level of national security has given Japan the opportunity to develop one of the world's most distinctive cultures, largely free of external influences for centuries.

A major motivation for the isolation of the Edo Period was the exclusion of other religions, particularly Christianity. This was largely successful; to this day most people in Japan maintain beliefs in Shinto or Buddhism even as the rest of the world has become increasingly converted to Christianity. So there were upsides to the isolation, but in general I think the downsides of being excluded from world trade outweigh the upsides.

In the end, Japan's hand was forced by some quite literal gunboat diplomacy, as in 1853 the United States brought battleships to Japan's shores and demanded that they reopen trade. While they were no doubt unhappy about this, in the long run Japan has benefited greatly from being industrialized and reintegrated into global trade, so much so that they are now essentially a First World country.

Water flows through a cylinder pipe of radius 0.74 cm. It fills a 12 litre bucket in 4 minutes. Calculate the speed of water through the pipe in...

We are given the volumetric flow rate to be: 

`(12L)/(4 minutes) = 3 L/min`

Also since our final answer has to be in centimeters, we have to convert the volumetric flowrate obtained above into square centimeters: 

`3L = 3000cm^3`

Therefore the volumetric flowrate is:

`3000 (cm^3)/min`

In order to determine the speed of the water, we have to first know that the volume of the cylinder is: 

`V = pi * r^2 * h`

`pi...

We are given the volumetric flow rate to be: 

`(12L)/(4 minutes) = 3 L/min`

Also since our final answer has to be in centimeters, we have to convert the volumetric flowrate obtained above into square centimeters: 

`3L = 3000cm^3`

Therefore the volumetric flowrate is:

`3000 (cm^3)/min`

In order to determine the speed of the water, we have to first know that the volume of the cylinder is: 

`V = pi * r^2 * h`

`pi = 3.14`

`r = 0.74cm` ( r = raduis)

`V = 3000 (cm^3 )/min`  Note in this equation V is volumetric flowrate, not volume.

Now we need to determine, h - the height: 

`h = (3000/ (pi *(0.74)^2 ))`

`h = 1744.69 (cm)/min`

We can round off the above answer to as the following: 

`h = 1745 (cm)/min`

The speed of the water going through the pipe is 1745 cm/min

What are some examples of foreshadowing in Act I of Romeo and Juliet?

There are two good examples of foreshadowing in Act I of Shakespeare's Romeo and Juliet. The first example occurs in Scene 3 after Romeo has read the list of invited guests for Capulet's party and discovers the name of Rosaline, the girl he loves but does not return his affection. Benvolio has been trying to convince Romeo that he should forget her and look at the other women of Verona. Benvolio says,

At this same...

There are two good examples of foreshadowing in Act I of Shakespeare's Romeo and Juliet. The first example occurs in Scene 3 after Romeo has read the list of invited guests for Capulet's party and discovers the name of Rosaline, the girl he loves but does not return his affection. Benvolio has been trying to convince Romeo that he should forget her and look at the other women of Verona. Benvolio says,

At this same ancient feast of Capulet’s
Sups the fair Rosaline whom thou so loves,
With all the admirèd beauties of Verona.
Go thither, and with unattainted eye
Compare her face with some that I shall show,
And I will make thee think thy swan a crow.

Benvolio is right and foreshadows the meeting of Romeo and Juliet in Scene 5. Once Romeo sees Juliet, he falls in love and forgets all about Rosaline. Like Benvolio, he even calls the other women "crows" after seeing Juliet:

So shows a snowy dove trooping with crows

The best example of foreshadowing, however, comes in Scene 4 as the Montagues are on their way to crash Capulet's party. After Mercutio's Queen Mab monologue, Romeo, in an aside, reveals his fear that going to the party will set in motion events that he cannot control which will ultimately lead to his death. He says,

I fear too early, for my mind misgives
Some consequence yet hanging in the stars
Shall bitterly begin his fearful date
With this night’s revels, and expire the term
Of a despisèd life closed in my breast
By some vile forfeit of untimely death.

As foreshadowed, the "night's revels" lead to his relationship with Juliet and the tragic circumstances of their love. Fate or a "consequence yet hanging in the stars" takes over Romeo's life as catastrophe after catastrophe changes his life forever. The final suicides are indeed untimely as Romeo is a young man in the prime of life and Juliet is only thirteen-years old.