How do you get ideas when composing music?

Have you ever heard of Bloom's Taxonomy? This is an educational theory (often accompanied by a visual diagram or model) which describes the learning process and its stages of development. It all begins with remembering, progressing through more complex stages of analysis and understanding, and ending with that step you seem to be seeking—creativity! When we learn a new skill, especially in the arts, we best learn by interacting with work others have created before us.

I recommend listening to lots of music to get inspired. Pay attention to the different parts of the music—the notes, the chords, the arpeggios, the instruments, the vocalizations. Try to identify as many separate pieces in a work of music as you can and how they interact with one another to create the whole. Listening to music might also help you to get an idea of what kind of music you'd like to create. You might try listening to some music you really don't like or that is very different from what you are used to—what makes this piece of music unpleasant or different?

If you play an instrument, a good way to gain a deeper understanding of any work of music is to try to play it. Take this opportunity to familiarize yourself with both the parts and the whole of a work of music and compare it to another.

After some listening and analyzing, you're ready to do a little tinkering! If you play an instrument, sit down with it and have some staff paper ready. (If you sing, no need to grab an instrument, but you might still wish to make notes on staff paper.) Now, start making sounds! They don't have to be good ones; just make some noise! Try to recall what you liked about works of music you've heard and try to replicate that or create a similar sound. If you would feel more "natural" playing along with other instruments, check YouTube for some simple drum, piano, or guitar music to experiment with. You might also find it helpful to record your experimentation session through a video or sound recording program. Reviewing your experimentation session can help you hear what you liked and what you'd like to make changes to, and offer you some distance that being "in the moment" does not.

In Of Mice and Men, what are Slim's external and internal conflicts?

John Steinbeck's character Slim from Of Mice and Men, known as "The Prince of the Ranch" because of his quiet leadership and ability to command respect, faces both external and internal conflict without seeking it. 

From an external standpoint, Slim unintentionally gets pulled into man versus man conflict because of Curley. Because of his handsome demeanor, stature, and place among the ranch hands, Slim represents a threat to the smaller, insecure, bullish Curley. The boss's son roams the ranch looking for his wife and falsely accuses Slim of carrying on a relationship with her. In Chapter 3, this conflict boils over when Curley cannot find his wife and immediately assumes that she must be with Slim. Although Slim never gets into a physical altercation with Curley, he does use harsh words to put Curley in his place and forces Curley to lie about his hand injury in order to protect Lennie.

In some ways, Slim is also in conflict with nature and society. Steinbeck describes the quiet leader as someone who might lead a very different life if it were not for The Great Depression. Despite Slim's natural ability to lead others and his skills as a jerkline skinner, he is essentially trapped at the ranch working for a boss he does not respect because his society cannot offer him better options. Had the United States not been suffering from drought, dust storms, and vast poverty during Slim's time, he might have easily moved to a different area or even been able to take on a different line of work.

Internally, Slim's character offers some hints of conflict, but because Steinbeck characterizes his figures primarily through dialogue and action in Of Mice and Men, readers have to infer what specifically might trouble Slim. In Chapter 5, Steinbeck reveals the most about Slim's thinking and internal conflict by his pondering George's situation after Lennie has killed Curley's Wife. Slim decides to provide a way for George to get a head start on Curley. Getting involved in someone else's messy business at first seems out of character for Slim, but his external conflict with Curley ultimately solves his internal conflict about how to handle Lennie's fate. Slim is a fair, objective man and simply cannot allow a bully like Curley to torture the mentally handicapped Lennie; so his decision to stall Curley while George gets Carlson's gun and heads to the river demonstrates Slim's ability to resolve his own internal questioning quickly in the name of moral justice.  

Why is The Help an appropriate title for this novel?

Authors and publishers sometimes deliberately use titles that can be interpreted in several ways. The fun lies in letting the readers discover the multiple references.

At its core, the name and the main concept of The Help points to the African American domestic servants traditionally employed in homes in the Deep South region of the United States. The verb “to help” turns into a noun to mean “the paid workers.” Some folks – especially those without ties to the American South -- may see this term as a dehumanizing one. “The help” sounds as though the employees should be treated as objects, and not as people. This use is therefore appropriate for the title of this book, since many members of the Jackson Junior League do not see their black maids as their equals.

We can consider another interpretation of “the help” by associating it with the writing projects undertaken by Miss Skeeter Phelan. First, she needs help in answering the housekeeper questions sent to Miss Myrna at the local newspaper. Skeeter is the new columnist. In order to write the columns, she has to get assistance and tips from Aibileen, the maid for the Leefolt family. Then because of something Aibileen tells Skeeter about her deceased son, Skeeter gets the idea to compile stories from the black maids. The resulting book will unveil a variety of both good and bad practices, as well as racist attitudes and behaviors, regarding their employers. But all of their identities will be masked. “The help” ends up giving Skeeter “the help” she desperately needs to flesh out the book and to get it published. She could not finish the project without them.

The Friar, like all Catholic priests who receive Confession, is sworn to secrecy. Does this mean the Friar must keep all Romeo’s secrets?

When a Catholic Priest receives confession, they are obligated by Canon Law (the law of the Roman Catholic Church) to uphold the Seal of the Confessional- a confidentiality agreement between the confessor and priest. Anything that is told during confession must be kept secret, even if someone has done or is planning to do something terrible. 

This brings up a few thoughts- first, what about state law? If someone confesses to a crime in confession- say, a murder- the priest has a duty to hold this person accountable in the religious sense only. Intentional murder is a sin which totally alienates someone from God and the person cannot be redeemed. For the priest, they can only really council the person on how to stay out of further sin until their death. The priest might also encourage the person to turn themselves in to state authorities. The priest is not obligated by the Church to tell any state officials about the murder, but if questioned about his knowledge, he faces a difficult decision. In actuality, priests can and do break the Seal of the Confessional, but with penalty. A priest who breaks the Seal is excommunicated- essentially kicked out of the Church! In most parts of the world, there are laws offering priests protection on the understanding that they cannot break the Seal, but it is not unthinkable that a priest might be sent to jail for refusing to share information related to a crime.

As it applies to Romeo and Friar Laurence, anything told in confession must be kept secret, at risk of excommunication. Here's the thing, though- Romeo never goes to confession with Friar Laurence during the play! In Act II, Scene III, Romeo visits Friar Laurence in his living quarters and tells him all about falling in love with Juliet. Romeo beats around the bush a little bit and Friar Laurence does tell him to hurry up with his "confession," but they have not begun the ritualized format of the Sacrament of Reconciliation. In a religious confession, a person begins by saying, "Forgive me father, for I have sinned. My last confession was (however long) ago." They then go on to describe their sins and ask for forgiveness. No such exchange takes place between Romeo and the Friar during this play!

This ritualized format of the Sacrament of Reconciliation which is practiced today has its roots in the 9th Century CE, meaning that in the 16th Century, this practice would have been well under way. For Romeo's "confession" to take place in the way it does marks it as a non-religious conversation. In this case, Friar Laurence is under no religious obligation to keep Romeo's secrets. As a good friend to Romeo, he decides to, but as a religious official, there would be no risks for him to share the content of this conversation.

What is the topic of the poem "My Papa's Waltz" by Theodore Roethke?

In "My Papa's Waltz," the narrator describes his relationship with his father. The speaker is waltzing with his intoxicated father. The poem shows the speaker's conflicting feelings. He is repulsed by the whiskey smell on his father's breath, but he "hung on like death." And even though this "waltzing was not easy," the image in the end is of the speaker clinging to his father's shirt. He loves his father but has a need to rebel from him. 

Roethke uses the waltz as a metaphor for the relationship between father and son. In the first stanza, he might be suggesting that the father needs to be a little drunk in order to express his emotions. In the next two stanzas, the speaker illustrates how the waltz is forced and even violent. One could derive different interpretations from this. But, in general, this suggests that the father tries to show his son that a man is tough. In their relationship, the father demonstrates that toughness with his son, or even on his son. 

Playing with this metaphor of the waltz, the father is traditional in the sense that he is the man of the family and he wants his son to follow in his footsteps. The father essentially "leads" his son the way a man would lead in a waltz. Sometimes, the son loves his father's guidance but sometimes he feels his father forces him. 

Roethke was interested in poetry at an early age. His own father was the masculine type described in this poem. Here, Roethke reflects upon that conflicted relationship of an artistic son being molded by a more traditional, masculine father. 

What figurative language is used in the following quote from The Hunger Games by Suzanne Collins? “…and turn my features into a indifferent...

The mask of indifference is a metaphor for hiding Katniss's feelings.

Figurative language is language that is not meant to be taken literally. The most common types of figurative language are probably simile, metaphor, and personification.  A simile compares two unlike things indirectly, usually with the words “like” or “as” used in the comparison.  A metaphor, on the other hand, is a more direct comparison where you describe something as if it were something else.  Personification is when you describe something nonhuman with human qualities. 

The quote you have included is from the beginning of the book, when Katniss is explaining how she learned from a young age not to question the government. 

When I was younger, I scared my mother to death, the things I would blurt out about District 12, about the people who rule our country, Panem, from the far-off city called the Capitol. Eventually I understood this would only lead us to more trouble. (Ch. 1) 

Katniss says she learned to hold her tongue, which is an idiom.  It is a common figure of speech, based on a metaphor, meaning she learned not to speak up.  The rest of your quote is related to this metaphor. When Katniss says she learned to turn her face into an “indifferent mask” she does not mean that she literally wore a mask.  She means that she learned to hide her feelings so that her facial expressions did not show them. 

The metaphor of the mask of indifference is an important one for Katniss.  It extends beyond not getting in trouble for speaking against the Capital.  Katniss learned to hide all of her feelings as a coping mechanism for a difficult life.    Throughout the rest of the book, Katniss tries to hide her emotions behind indifference so she will not get hurt.  When you are fighting to survive a daily basis, which she did even before going to the Hunger Games, this is a valuable skill.

In "The Adventure of the Speckled Band" by Sir Arthur Conan Doyle, what is Watson's attitude toward Holmes?

Dr. Watson is a great admirer of Sherlock Holmes. That is why he has elected to study his friend's unique methods and to write extensively about his cases. Holmes frequently refers to Watson as his "Boswell." James Boswell devoted many years to writing The Life of Samuel Johnson, LL.D., out of his great admiration for that distinguished English man of letters. Watson presents his novels and short stories, including "The Adventure of the Speckled Band," to the reading public as factual studies in detection and criminology, although they are really only pure fiction--or what Graham Greene called "entertainments."  It is because of Dr. Watson's high regard for Holmes, along with the fact that Watson has plenty of leisure time on his hands and the advantage of being Holmes' close friend and confidant, that he is willing and able to devote so much of his time to recording and analyzing the great detective's cases.

At the end of "The Red-Headed League," which Watson also presents as a real case and not as an adventure story, Watson praises Holmes' success in terms that show how much he admires his good friend.

“You reasoned it out beautifully,” I exclaimed in unfeigned admiration. “It is so long a chain, and yet every link rings true.”

“It saved me from ennui,” he answered, yawning. “Alas! I already feel it closing in upon me. My life is spent in one long effort to escape from the commonplaces of existence. These little problems help me to do so.”

“And you are a benefactor of the race,” said I.

And at the very end of "The Final Problem," Watson, who believes Holmes has fallen to his death with Professor Moriarty at Reichenbach Falls, offers this final tribute which shows that his accounts of Holmes' genius were inspired by a sense of duty to make his admiration more widely appreciated.

Of their terrible chief [Moriarity] few details came out during the proceedings, and if I have now been compelled to make a clear statement of his career it is due to those injudicious champions who have endeavored to clear his memory by attacks upon him whom I shall ever regard as the best and the wisest man whom I have ever known.

Watson's attitude toward Holmes explains why he is delighted to write about his friend's achievements and why he is always willing to assist him in his investigations, even at the risk of his life, as he does in "The Adventure of the Speckled Band."

`ysqrt(1-x^2)y' - xsqrt(1-y^2) = 0 , y(0) = 1` Find the particular solution that satisfies the initial condition

The given problem: `ysqrt(1-x^2)y' -xsqrt(1-y^2)=0` is written in a form of first order "ordinary differential equation" or first order ODE.

 To evaluate this, we can apply variable separable differential equation  in which we express it in a form of `f(y) dy= g(x) dx ` before using direct integration on each side.

To rearrange the problem, we move `xsqrt(1-y^2)` to the other to have an equation as:`ysqrt(1-x^2)y' = xsqrt(1-y^2)` .

 Divide both sides by `sqrt(1-y^2)sqrt(1-x^2)` :

`(ysqrt(1-x^2)y')/(sqrt(1-y^2)sqrt(1-x^2)) = (xsqrt(1-y^2))/(sqrt(1-y^2)sqrt(1-x^2))`

`(y*y')/sqrt(1-y^2)= x/sqrt(1-x^2)`

Applying direct integration: `int(y*y')/sqrt(1-y^2)= int x/sqrt(1-x^2)`

Express `y'` as `(dy)/(dx)` : `int(y*(dy)/(dx))/sqrt(1-y^2)= int x/sqrt(1-x^2)`

Express in a form of `f(y) dy= g(x) dx` : `int(y*dy)/sqrt(1-y^2)= int (x*dx)/sqrt(1-x^2)`

To find the indefinite integral on both sides, we let:

`u = 1-y^2` then `du =-2y dy` or   `(du)/(-2) =y dy`

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

 The integral becomes: 

`int(y*dy)/sqrt(1-y^2)= int (x*dx)/sqrt(1-x^2)`

`int((du)/(-2))/sqrt(u)= int ((dv)/(-2))/sqrt(v)`

Apply the basic integration property: `int c*f(x) dx= c int f(x) dx` .

`(-1/2) int((du))/sqrt(u)= (-1/2) int (dv)/sqrt(v)`

Apply the Law of Exponents: `sqrt(x) = x^(1/2) and 1/x^n = x^(-n)` .

Then, the integral becomes:

`(-1/2) int((du))/u^(1/2)= (-1/2) int (dv)/v^(1/2)`

`(-1/2) int u^(-1/2)du= (-1/2) int v^(-1/2)dv`

Applying Power Rule of integration: `int x^ndx= x^(n+1)/(n+1)`

`(-1/2) int u^(-1/2)du= (-1/2) int v^(-1/2)dv`

`(-1/2) u^(-1/2+1)/(-1/2+1)= (-1/2) v^(-1/2+1)/(-1/2+1)+C`

`(-1/2) u^(1/2)/(1/2)= (-1/2) v^(1/2)/(1/2)+C`

`-u^(1/2)= - v^(1/2)+C`

Note: `(-1/2)/(1/2) = -1`

In radical form: `- sqrt( u)= -sqrt(v)+C`

Plug-in `u =1-y^2` and `v=1-x^2` , we get the general solution of differential equation:

`- sqrt( 1-y^2)= -sqrt(1-x^2)+C`

Divide both sides by `-1` , we get: `sqrt( 1-y^2)= sqrt(1-x^2)+C` .

Note:`C/(-1) = C` as arbitrary constant

For particular solution, we consider the initial condition ` y(0) =1` where  `x_0=0` and `y_0=1` .

Plug-in the values, we get:

`sqrt( 1-1^2)= sqrt(1-0^2)+C`

`sqrt(0)=sqrt(1)+C`

`0=1+C`

`C = 0-1`

`C =-1` .

 Then plug-in C =-1 on the general solution: `sqrt( 1-y^2)= sqrt(1-x^2)+C` .

`sqrt( 1-y^2)= sqrt(1-x^2)+(-1)`

`(sqrt(1-y^2))^2 =(sqrt(1-x^2) -1)^2`

`1-y^2= (1-x^2) -2sqrt(1-x^2) +1`

Rearrange into:

`y^2=-(1-x^2) +2sqrt(1-x^2)`

`y^2=-1+x^2 +2sqrt(1-x^2)`

`y^2=x^2+2sqrt(1-x^2)-1`

Taking the square root on both sides:

`y =sqrt(x^2+2sqrt(1-x^2) -1)`

List two things Lyddie appreciates and two things she does not like about living in the boardinghouse.

Mrs. Bedlow, the boardinghouse keeper, is very nice.  Lyddie likes the stove, and wants to sit next to it on her first night there because it is very warm.  Lyddie enjoys the girls in the boardinghouse, though she doesn’t like the fact that they spend almost all of her money buying Lyddie new clothes appropriate for the factory. 

In addition to the nice people, Lyddie loves reading with Betsy.  She has a copy of Oliver Twist, and the story just captivates Lyddie.  She hasn’t had much education, and she wants to learn to read and write more proficiently.  Reading with Betsy in their limited spare time becomes her favorite thing to do.

Lyddie finds the boardinghouse a little crowded.  At first she is in the attic alone, but then they move her to a bedroom.  She has to share a bed, and there are four girls to a room. 

Four to a room was in itself a luxury, as most of the rooms held six.  But even so, there was hardly any space to walk around the two double beds, the two tiny nightstands, and the various trunks and bandboxes of the inhabitants. (Ch. 8) 

Lyddie doesn’t like that the boardinghouse and factory corporation require her to attend church.  She lived outside of town on the farm and her family could never afford pew rent, so they did not go.  Lyddie doesn’t want to spend her hard-earned money on church, because she is saving it to get back her farm.  Betsy advises her on a cheaper way to do it. 

“…They'll probably make you put in an appearance from time to time somewhere. The Methodists don't press girls for pew rent, so if you're short on money, best go there. You have to pay for it in longer sermons, but nonetheless I always recommend the Methodists to new girls with no particular desire to go anywhere." (Ch. 8)

Lyddie doesn't like that the corporation makes decisions like this for her, from having to buy new clothes to paying for church.  She worries that she can't read well enough to understand all of the rules and regulations.  One of these is that she has to get vaccinations, which she finds unpleasant.

Where can I read education-related blogs?

You can read education-related blogs on the Internet.  Choosing blogs to subscribe to is really a personal preference and depends on what area of education you are looking for.  I would evaluate your teaching situation (grade level, demographic of your school, strengths and weaknesses) and try to find blogs that would suit your needs.  It is also important that you enjoy the writing style of the blogger that you are going to follow.  

Probably the most effective way to find a blog that suits your needs is to visit the different websites that are focused on teaching and learning. Teachthought.com lists fifty-two education-related blogs that are worth a teacher's time.  Eschool News, Open Education Database and Education Week also have a list of blogs that they have reviewed and feel are important for educators.  In each case, these blogs are categorized to help you find exactly what you are looking for.  

At what zones do non-volcanic mountain ranges form?

Non-volcanic mountain ranges may be found along convergent boundaries of tectonic plates. Let's consider the Himalayan Mountains as an example.

Underneath the Himalayan Mountains, the Indian Plate and the Eurasian Plate are grinding together. In fact, many millions of years ago, the Indian subcontinent was not at all attached to the Eurasian landmass. With plate activity, the Indian Plate has been steadily moving towards and against the Eurasian Plate. When two or more plates converge in this way, some of the land mass is pushed upwards. Some of the land mass may also be driven downwards and "recycled" in the mantle. Over time, the land that is pushed upwards can create mountain ranges. 

If you look at a map of the Himalayan mountain range, or other non-volcanic mountain ranges, you can easily discern where the underlying convergent boundary is. 

How does the weather on the day of the lunch play into events of the chapter?

That the day Nick and Gatsby agreed upon for Nick to invite Daisy to tea was "pouring rain" seems like a metaphor for Gatsby's feelings.  The weather is as unsettled as his emotions are. He is impatient and desperate, assuming that Daisy will not come when it is not even time for her to arrive. Then, when Daisy does arrive, Gatsby runs around the house so that he could knock at the front door, where, when Nick opened it, he stood "in a puddle of water glaring tragically into [Nick's] eyes." All Gatsby's apprehension and nervousness and fear and anticipation figuratively storm inside him, just as it literally storms outside.

When Nick goes to wait outside so that they can speak privately, he says, "While the rain continued it had seemed like the murmur of their voices, rising and swelling a little now and then with gusts of emotion. But in the new silence I felt that silence had fallen within the house too." The weather settles and the sun comes out, as Gatsby and Daisy talk inside, and when Nick returns, Gatsby "literally glowed" with happiness. While it had rained, Daisy had cried, but now her voice is "full of aching, grieving beauty" and "unexpected joy." Thus, the stormy weather seems to symbolize both of their tumultuous emotional states, and then, when the sun comes out, it symbolizes a sort of new day for this old couple.

What is Calpurnia doing in the courtroom inHarper Lee's To Kill a Mockingbird?

Calpurnia comes to the courtroom in order to deliver a message to Atticus Finch.

In Chapter 21, Calpurnia comes to the courtroom in the afternoon during Tom Robinson trial and stands tentatively at the railing. When Judge Taylor sees her, he says, "It's Calpurnia, isn't it?" She, then, asks to give Mr. Finch a note, adding that it has nothing to do with the trial.
The contents of this note reveal her purpose: Alexandra has written that the children are missing.

Since Atticus has given the children strict instructions at breakfast that he does not want them downtown this day, Aunt Alexandra does not think that they have disobeyed. But, in the narrative Scout tells readers, "after dinner, we stopped by for Dill and went to town." They just can not resist attending, especially after all the talk about the trial and Atticus's own earlier remarks to his brother Jack that he could not face his children were he not to accept Judge Taylor's assignment.

Having read the note, Atticus speaks to the keenly alert Judge Taylor, who tells him that the children are in the balcony, and they have been there since 1:18 p.m. Atticus turns and orders Jem to come down the stairs. After descending, Jem begs Atticus to let them stay and hear the verdict; Atticus relents, "Well, you've heard it all, so you might as well hear the rest." Still, Atticus sends them home for supper with permission to return afterwards. 

What is the common theme in Romeo and Juliet, Lord of the Flies, and Of Mice and Men?

The common theme of these three very different works is that fate puts us in difficult situations, but then we have to make moral decisions.  All three of these stories involve seemingly impossible, no-win situations. 

In Romeo and Juliet, Romeo falls in love with a girl from a family who is in a death feud with his family.  Romeo’s two choices are to pursue the girl against his family’s wishes or to stop pursuing her.  If he chooses the former, he will likely break ties with his family and never see them again.  If he chooses the latter, he misses out on the love of his life.  Romeo doesn’t care. He wants to marry.  Juliet, of course, has the same decision to make.

JULIET

My only love sprung from my only hate!
Too early seen unknown, and known too late!
Prodigious birth of love it is to me,
That I must love a loathed enemy. (Act 1, Scene 5)

The two decide to marry in secret, and in this case the impossible choice has disastrous consequences.  Juliet’s cousin Tybalt fights Romeo, and then Romeo is banished for killing him.  Romeo and Juliet end up committing suicide.

In Lord of the Flies, the impossible choice falls upon Ralph.  The story is about a group of boys who land on an island.  There are no adults, and the boys try to make their own society.  They elect Ralph as their leader, but he doesn’t get much done.  A schism develops, and most of the boys end up following a savage boy named Jack.

Ralph doesn’t agree with Jack’s leadership style. He is violent, impulsive, and savage.  However, if Ralph doesn’t join or follow Jack, the boys will remain split.  Ralph doesn’t know what to do, and this leads to the death of the first boy who is killed by the others, Simon.

“It was an accident,” said Piggy suddenly, “that’s what it was. An accident.”

His voice shrilled again. “Coming in the dark—he hadn’t no business crawling like that out of the dark. He was batty. He asked for it.” He gesticulated widely again. “It was an accident.” (Ch. 10) 

Eventually things get worse, and Piggy is killed too.  Things break down to the point where Ralph has nothing left.  He is rescued then, but has been traumatized.

The impossible choice in Of Mice and Men is George's choice to kill Lennie.  It results from Lennie's repeated efforts to touch soft things, which get them run out of Weed and eventually cause the much more serious death of Curley's wife.  

George did not know what else to do.  If he turned Lennie in, Lennie would not know what was happening. He never meant to hurt anyone.  He wouldn't understand why he was being punished if he were sent to jail.  George decided instead to put him out of his misery before he really knew what hit him.

According to the description in Bradbury's "All Summer in a Day," what is the planet Venus like?

Ray Bradbury's "All Summer in a Day" is set on the planet Venus. The description of the planet is not based on scientific evidence; rather, it is as Bradbury creates it for the foundation of the plot and conflict of the story. The description of the story's imaginary setting is as follows:

"It had been raining for seven years; thousands upon thousands of days compounded and filled from one end to the other with rain, with the drum and gush of water, with the sweet crystal fall of showers and the concussion of storms so heavy they were tidal waves come over the islands. A thousand forests had been crushed under the rain and grown up a thousand times to be crushed again. And this was the way life was forever on the planet Venus . . ."

Since the planet has only seen rain each day for seven years, then it can also be inferred that the sun has not shone during that time, either. For the human children who were born on Venus, and don't know what life on Earth is like, they also don't know what the sun feels like on their skin. 

When the sun does come out, however, further details are given as to what the planet looks like outside of the human dwellings. For example, "The children lay out, laughing, on the jungle mattress, and heard it sigh and squeak under them, resilient and alive." The descriptions from the story also say that the children run around trees. Therefore, it can be inferred that not only does Venus experience a lot of rainfall, but as a result, the terrain is like a tropical jungle—green, lush, and full of life.

In "The Open Window," why did Framton Nuttel dash off without a word when he saw Mr. Sappleton and Mrs. Sappleton's brothers approaching?

Framton Nuttel is completely taken in by Vera's story. The same applies to the reader, who believes that the three men approaching the open window must be the ghosts of the three male relatives who died three years ago after being sucked into a bog. Vera knows that her giddy aunt will be sitting there waiting for her men to return for tea and will be talking about nothing but shooting birds. Vera convinces Nuttel that her aunt lost her mind three years ago when the three hunters were killed along with their spaniel. The aunt is expecting the return of hunters who have been dead for three years. Vera is prepared to put on an expression of horror when her aunt finally sees the men she is expecting. Framton is seated in such a way that he looks at the aunt first, then at Vera with sympathy to show he understands the poor woman's mental condition, then quickly at the open window when he sees the "dazed horror" in Vera's eyes. Vera has given him a number of bits of description by which he will immediately recognize the three men as the ones who are supposedly dead.

In the deepening twilight three figures were walking across the lawn towards the window, they all carried guns under their arms, and one of them was additionally burdened with a white coat hung over his shoulders. A tired brown spaniel kept close at their heels. Noiselessly they neared the house, and then a hoarse young voice chanted out of the dusk: "I said, Bertie, why do you bound?"

Vera is bored to tears by the sameness of life in this English country manor. She is vindictive because she feels like a prisoner. She has heard Ronnie singing, "Bertie, why do you bound?" so many times that she can be sure he will sing it again this evening as he nears the big house. The white coat and the brown spaniel are also unmistakable identifying cues. At this point the reader understands the terror that makes Nuttel jump up and flee for his life. They are not only ghosts but ghosts armed with guns! It is not until Nuttel has fled the scene that the reader learns that the whole incident was a practical joke.

"Here we are, my dear," said the bearer of the white mackintosh, coming in through the window, "fairly muddy, but most of it's dry. Who was that who bolted out as we came up?"

"A most extraordinary man, a Mr. Nuttel," said Mrs. Sappleton; "could only talk about his illnesses, and dashed off without a word of goodby or apology when you arrived. One would think he had seen a ghost."

In The Future of Freedom, what is the relationship between economic growth and democratization?

As presented by Zakaria, the relationship between economic growth and democratization is that economic growth, under a stable government, allows for the democratization of society and governmental authority (democratization is distinguished from liberty, which is social and political freedoms constitutionally enumerated and protected). A growing and stable economy precedes a democratized society and government. 

Contemporary global economy is now largely democratized--the mass majority opinion has power over the elitist opinion--which represents a new economic force in world history.

Over the last half-century economic growth has enriched hundreds of millions in the industrial world, turning consumption, saving, and investing into a mass phenomenon.

Democratized economy has forced social structures to adapt to accommodate economic changes. "[E]conomic power ... has been shifting downward" from the economic elite to the democratized "many that are the middle class." The investment power wielded by workers' pension funds overshadow the "assets of the most exclusive investment group," which are "dwarfed" by the growing economic power of middle class investment sources.

The democratization of governments (illustrated by majority referendum votes overriding or subverting established law) results in "sapping" government by diluting its authority and by overriding the controls put in place to safeguard liberty. That this occurs, asserts Zakaria, is proven by the increase of globally extensive illegal movements of "people, drugs, money, and weapons ... [because] fueled by broad technological, social, and economic changes." The consequence is the intensifying tension between "the forces that drive democratization of authority" and state authority that governs.

Zakaria distinguishes between democracy and liberty. Democracy is rule by majority opinion (which Jefferson opposed, preferring elite representatives), while liberty is freedom to live according to social and political power constitutionally defined and constitutionally extended without prejudice.

[Hirsch, Kett, Trefil, The New Dictionary of Cultural Literacy.]

What are some examples from Shakespeare's Macbeth of how individuals cannot rid themselves of their sense of guilt?

You could improve your thesis statement by saying that Macbeth and Lady Macbeth are tortured by their guilt-ridden conscience for all the atrocious deeds they have thought about or/and committed.

You could support your thesis by referring to some examples from the play. The examples that I will list are: the vision of the dagger, Banquo's ghost, and Lady Macbeth's hallucination.

Macbeth sees a bloody dagger in the air, which happens right before he murders king Duncan with that very tool:

Art thou not, fatal vision, sensible
To feeling as to sight? or art thou but
A dagger of the mind, a false creation,
Proceeding from the heat-oppressed brain?

His sense of right and wrong is trying to warn him that killing Duncan would be clearly sinful and evil on every level. Nevertheless, he kills Duncan.

Macbeth succumbs to his guilt once again when he believes that he sees the ghost of Banquo during the famous banquet scene. This is because Macbeth knows that Banquo should be present at the banquet. Instead, he ordered his execution and pretends in front of everyone that he would like if Banquo  could attend the celebration. When he sees the ghost, he is terrified, and his irrational behavior frightens every guest.

Another instance of guilt conquering an individual is when Lady Macbeth descends into utter irrationality. She has lost her sanity due to all the evil plans she had at the beginning of the play. Having planned evil deeds and knowing the consequences afterwards proves to be too much for Lady Macbeth to handle. She attempts to wash the stains of blood from her hands, which is reminiscent of the time when she encouraged her husband to kill Duncan. Her indirect participation in the murders which Macbeth committed eventually leads to her imminent death.

`dy/dx = y + 3` Solve the differential equation

Recall that in solving simple first order "ordinary differential equation" (ODE),  we may apply variable separable differential equation wherein:

`N(y)y'=M(x)`

`N(y)(dy)/(dx)=M(x)`

`N(y) dy=M(x) dx`

Before we can work on the direct integration:` ` int N(y) dy= int M(x) dx to solve for the  general solution of a differential equation.

 For the given first order ODE: `(dy)/(dx)=y+3 ` can be rearrange by cross-multiplication into:

`(dy)/(y+3)=dx`

Apply direct integration on both sides:` int(dy)/(y+3)=int ` dx

 For the left side, we consider u-substitution by letting:

`u= y+3` then` du = dy`

The integral becomes:

 `int(dy)/(y+3)=int(du)/(u)`

 Applying basic integration formula for logarithm:

 `int(du)/(u)= ln|u|`

 Plug-in `u = y+3` on `ln|u`` |` , we get:

 `int(dy)/(y+3)=ln|y+3|`

For the right side, we apply the basic integration: `int dx= x+C`

Combing the results from both sides, we get the general solution of the differential equation as:

`ln|y+3|= x+C`

or

`y =e^(x+C)-3`

`y =Ce^x-3`

Which group would be considered "othered" throughout the novel and why? How is the treatment of the "other" group represented in the story?

Boyne's novel The Boy in the Striped Pajamas is considered historical fiction and is set in Europe during the early 1940s. During this time period, Nazi Germany controlled large sections of Europe and attempted to annihilate the Jewish population in what was called the "Final Solution." In the novel, Boyne depicts an unlikely friendship between a German boy and a Jewish prisoner who is in the Auschwitz concentration camp. The Jews would be considered the group that is "othered" throughout the novel because they are persecuted and oppressed. The Nazis were prejudiced against the Jews and wanted to annihilate the entire Jewish population. Jewish prisoners were confined inside the massive fence surrounding Auschwitz where they were forced to work inside the concentration camp. The Jews suffered from malnutrition and were also subjected to violent beatings. Jewish prisoners were also forbidden from interacting with Germans without given permission. Boyne represents this prejudice towards the European Jews by depicting the limits on their freedom and portraying the harsh treatment inflicted on them by the Nazi soldiers.

What was the father's purpose in teaching his sons through object lessons and devotion?

In Swiss Family Robinson, the father, William, attempts to teach his sons lessons in a way that enables them to come to conclusions on their own. For example, in Chapter Two, the father educates Fritz, his eldest son, when they are looking for their fellow shipmates. Fritz asks if he should fire a shot to draw the shipmates' attention. The father responds that it would also draw the attention of "savages," as he calls them. Then, Fritz happens upon what he thinks is a bird's nest, but the father explains to him, "you need not necessarily conclude that every round hairy thing is a bird's nest; this, for instance, is not one, but a cocoanut" (page numbers vary by edition). The father reminds Fritz that he has read about coconuts, but has not seen any.

In this instance, as in many others in the book, the father attempts to teach his sons through their own discoveries and experiences. He helps them make sense of what they are experiencing in the natural world of the island, but he does not tend to lecture the boys in advance of their experiences. In this way, the father's educational model is in line with the theories of the philosopher Jean-Jacques Rousseau. In his book Emile, Or on Education, Rousseau wrote about a method of education that involved allowing children to experience the world naturally and directly, not through books, to develop their own conclusions. 

Who is Dolphus Raymond in To Kill a Mockingbird?

Dolphus Raymond is a white man who is in a relationship with a black woman and has children with her.

In Alabama in the thirties, it was against the law for a white man and black woman to be married.  This did not stop Dolphus Raymond.  He was from a good family, but made himself an outcast in Maycomb by having an interracial family.

“Why’s he sittin‘ with the colored folks?”

“Always does. He likes ‘em better’n he likes us, I reckon. Lives by himself way down near the county line. He’s got a colored woman and all sorts of mixed chillun. Show you some of ’em if we see ‘em.” (Ch. 16)

Dolphus Raymond spends most of his time pretending to be drunk.  He carries a sack and people assume he is drinking liquor.  The children realize he is actually drinking Coca-cola.  Raymond is as sober as anyone else.  He is just trying to help others understand his actions.  He knows that they won’t appreciate that he loves his wife and children, so he lets them think he is an alcoholic.

During the trial, Raymond comforts Dill and the other children.  Dill in particular is very upset about the way Tom Robinson is being treated disrespectfully by Mr. Gilmer, the prosecutor.  Raymond tells him that this is the way things are, even though it isn’t right.  He says when Dill is older he won’t cy.

“Cry about what, Mr. Raymond?” Dill’s maleness was beginning to assert itself.

“Cry about the simple hell people give other people—without even thinking. Cry about the hell white people give colored folks, without even stopping to think that they’re people, too.” (Ch. 20)

Dolphus Raymond is an example of the fact that not all Maycomb’s citizens are unrepentant racists.  He has a unique approach to dealing with it, but it keeps him apart from society.  Scout realizes that it is a privilege of his class that people accept the way he is.

What basic ideas about government were present in the newly formed United States of America?

There were several ideas that were evident when we became independent from Great Britain and formed our government. One idea is that the government must protect our rights. We have believed since the beginning days of our country that there are certain rights that all people have and can’t be taken away by the government. These include the rights of life, liberty, and the pursuit of happiness.

Another basic idea is that the power of the government should be limited. Under the plan of government created by the Articles of Confederation, there were many things that the government couldn’t do. For example, the government couldn't levy taxes. When the Constitution was created, the government was divided into three branches, with each branch having a different job to do. No branch could do everything by itself. The branches also have the power to control the other branches. Even the power of the President was limited under the Constitution. The President can be impeached if he abuses his power or breaks a law. Under the Articles of Confederation, a three-person committee led the executive branch.

The fear of losing our rights also can be seen with insistence of the addition of the Bill of Rights before some states agreed to ratify the Constitution. The idea of protecting our rights was very clear when we developed our plans of government.

In The Outsiders, how do the Greasers and Socs dress?

Throughout the novel The Outsiders, the two rival gangs, the Greasers and Socs, dress and act differently. Since the Socs come from affluent families, they can afford expensive clothes and typically wear clean, striped or checkered shirts with madras ski jackets. Their style of clothing could be described as being "preppy." They look like innocent adolescents but are actually violent, entitled bullies who pick fights with the poor kids in town. In contrast, the Greasers wear untucked white tee shirts with leather jackets and blue jeans. They typically wear tennis shoes or boots and are known for their greasy, long hair. The Greasers' style is edgier and adds to their "bad boy" image. Society clearly favors the Socs because they are wealthy and dress in a clean-cut way, while the Greasers are discriminated against because of their poverty and unconventional style.

Explain three events from the rising action of the story which create complications or suspense.

The rising action of a piece of literature consists of the events after the exposition which lead up to the most pivotal point of the story. There are a number of events in “And of Clay We Are Created” by Isabel Allende leading up to the climax.

The exposition explains the early consequences of the volcanic eruption on the terrain, small villages, and people living in its path.

One of the first events of the rising action occurs when Rolf Carlé comes upon Azucena buried in the mire. He attempts to reach her but is unable to and has to backtrack until he can get close enough to her to assess her situation. How will he help her the reader wonders?

When he realizes how dire her situation is, he calls for help to slip a rope under her arms. It was impossible to reach her from the approach he was attempting, so he retreated and circled around where there seemed to be firmer footing. When he was finally close enough, he took the rope and tied it beneath her arms, so the men could pull her out.

As the men attempt to pull the girl out of the muck, they realize something more than mud is holding her down. She tells them her brothers and sisters are hanging onto her legs. This creates both suspense and a complication. How will the rescuers remove the little girls from the mud?

He signaled the others to pull, but as soon as the cord tensed, the girl screamed. They tried again, and her shoulders and arms appeared, but they could move her no farther; she was trapped. Someone suggested that her legs might be caught in the collapsed walls of her house, but she said it was not just rubble, that she was also held by the bodies of her brothers and sisters clinging to her legs.

Rolf makes numerous attempts to save the girl. He employs a pole as a lever but is unsuccessful. At one point, he even dives under the mud to release her. Each attempt is unsuccessful, and his frustration rises. He calls for someone to bring a pump but is told it will be the next day before equipment can be brought in. Once again he is frustrated and develops a method to soothe the girl through the night as she is prevented from slipping under the mud by a tire under her arms. He allows himself dream of a positive outcome to the situation. Will his attempts be met with success?

Rolf Carlé, buoyed by a premature optimism, was convinced that everything would end well: the pump would arrive, they would drain the water, move the rubble, and Azucena would be transported by helicopter to a hospital where she would recover rapidly and where he could visit her and bring her gifts.

As you continue reading the story, you will find more events that contribute to the rising action prior to the story’s climax and resolution.

How does tension function in the play The Lion and the Jewel by Wole Soyinka?

Wole Soyinka creates tension between the characters and various themes throughout the play The Lion and the Jewel. There is tension surrounding those who support traditional values and those who promote modernity. Lakunle opposes Baroka and Sadiku throughout the play because he argues that the village of Ilujinle should embrace Western culture. Baroka also displays his contempt for modernity by thwarting the Public Works project, which Lakunle later criticizes him for doing. Soyinka also creates tension between the male and female characters throughout the play. Both Sidi and Sadiku wish to be independent and control their own future. Sidi and Sadiku wish to elevate their social status in a male-dominated society that views females as possessions. There is also tension between Sidi and Baroka. Sidi attempts to mock Baroka and believes that she is the most revered person in Ilujinle. Sidi essentially challenges the Bale's authority and offends Sadiku by mocking Baroka. The tension between the characters and underlying themes creates a dramatic, entertaining experience for the audience.

Is the error in the sentence below a grammatical error that stemmed from a lexical error or vice versa?“It often happens catching myself...

This reads more like grammatical error that stems from lexical error, perhaps because the writer’s/speaker’s native language is not English. The clues here lie in the use of “catching” rather than “catch,” the missing subjective “I,” and the missing conjunction “that” that would create a more familiar English lexical construction. Many non-native speakers, regardless of language, use a general knowledge of vocabulary and verb construction to ‘get by’ in making meaning and being understood. It would be very similar if you were to go to, say, France and ask to use the bathroom or find a restaurant; you would use general vocabulary words you had learned and put them together in a lexical construction that followed patterns of your native language because that it what would be comfortable. This sentence reads like a non-native English speaker using general vocabulary and verb construction knowledge to put together a sentence in a lexicon that is familiar to him or her.

The ending prepositional phrase “in public” is confusing because it is repetitious, not because it is grammatically incorrect. Since public speaking by its very definition occurs in public, it is unnecessary to specify that. If I were to rewrite this sentence, keeping the general lexical construction, I would write, “It often happens that I catch myself feeling insecure regarding public speaking.” This is very wordy, though. In good, concise English construction, the sentence would probably be written, “I often feel insecure about public speaking” or perhaps, “I often feel insecure about speaking in public.”

What is the author's tone in the short story "The Witch" by Shirley Jackson?

"The Witch" is a dark comedy. It has elements of something sinister but it is also funny. It shows that the boy (and children in general) is innocent but also morbid. When parents say that their children are generally good but at times can terrorize them, no one really disagrees with this. In this story, it seems like Johnny has adopted some evil man's persona. And this all seems morbid and evil. But Johnny is just using his imagination. And in this respect, he's no more evil or dangerous that any other child who is generally good but has moments of mischief. 

But even though the boy and the man both seem to be kidding, the reader is left with a residual uncomfortable feeling. Following the story, the reader might wonder about whether the man was actually kidding. Did he really kill his sister? If so, this might symbolically suggest that the adult world really is capable of evil whereas children (Johnny) only consider such evil things in an imaginative state. And if the man was telling the truth, was he successful in corrupting a young mind? In the initial comedic interpretation of the story, the man is kidding. But if he was serious, then the story leans toward a mood more dark than comedic. Jackson leaves this for the reader to decide. 

How does the external law of nature "to kill or be killed" apply to Santiago and the fish?

Santiago is an old man, and certainly not in the best shape. He ventured too far out into the sea and managed to catch a huge marlin. The marlin is strong, but it is caught with Santiago's hook digging deeper and deeper into its mouth. The marlin tows them both farther and farther out to sea. These two are stuck in a deadly battle which exemplifies the phrase "kill or be killed." If Santiago doesn't kill this marlin soon, his strength will give out and he will risk allowing the marlin to tow him farther away from shore. The longer Santiago has the marlin attached to his boat, the longer he risks being arbitrarily dragged down with his boat into the sea by the marlin. He also might not have the strength to get back to shore, or the supplies. If the marlin doesn't tire Santiago out or escape from the hook, he risks starving (the hook in his mouth prevents him from eating) and ultimately weakening, which would lead to him being killed by Santiago.

How and why does James Gatz become Jay Gatsby? Describe the young Gatsby/Gatz.

James Gatz, a poor Midwestern boy of probable Jewish lineage, becomes Jay Gatsby, a presumed WASP and wealthy socialite, when he moves to New York City and acquires his fortune.

It is wealth that has allowed Gatz to transform himself into Gatsby. However, those who know his background (e.g., Daisy and Tom Buchanan) never allow him to forget that he is nouveau riche -- that is, an upstart who has just recently made his fortune, whereas they arose from well-to-do families.

Gatz became Gatsby through determination and discipline. At the end of the novel, the narrator, Nick Carraway, meets Gatsby's father who tells him about what Jay was like as a young man:

"Look here, this is a book he had when he was a boy. It just shows you."

He opened it at the back cover and turned it around for me to see. On the last fly-leaf was printed the word SCHEDULE and the date September 12, 1906.

What follows is a carefully managed and purposeful schedule, which begins at 6:00 AM and ends at 9:00 PM. It includes exercise, the study of "electricity," work, sports practice, the cultivation of manners, and the study of "needed inventions." It is followed by a series of resolutions not to waste time or smoke, but instead to read regularly and save money. The former habit fueled his impetus to attend Oxford after serving in World War One, while the latter allowed him to save enough money to get involved in bootlegging -- the likely source of Gatsby's fortune.

His love for Daisy is important, too. He knew after he met her that, in order to earn her love, he would have to be the kind of man whom she would deem worthy of it. That is, he would need to be wealthy, cultivated, and socially reputable. He becomes Jay Gatsby in order to win Daisy. Though Gatsby attains all of his goals, he is still destined to be spurned. 

What are quotes from Okonkwo that give readers insight into his personality in Things Fall Apart?

Chinua Achebe's Things Fall Apart centers on the strong traditional warrior Okonkwo as he adjusts to an evolving Umuofian landscape. Though Okonkwo is a man of relatively few words, the novel contains some key quotes that enable readers to get a better sense of the man who drives Achebe's classic tale. One notable quote occurs early in the text when Okonkwo asks Nwakibie for yams in a difficult harvest year:

I know what it is to ask a man to trust another with his yams, especially these days when young men are afraid of hard work. I am not afraid of work. . . I began to fend for myself at an age when most people still suck at their mothers' breasts. If you give me some yam seeds I shall not fail you (21).

Here, Okonkwo succinctly lays out the kind of man that he is. He is driven to succeed; he has had to work harder than many of his colleagues because his father's laziness held his family in poverty. This is an admirable trait that Okonkwo shows.

Okonkwo's intense fear of failure and being perceived as weak and "feminine" dominates his life. He works hard because he fears becoming his father. He defines masculinity in a toxic, rigid way. Indeed, his fear of being perceived as weak causes him to murder his adoptive son Ikemefuna. Okonkwo later questions why he is so shaken by his actions:

When did you become a shivering old woman. . . you, who are known in all the nine villages for your valor in war? How can a man who has killed five men in battle fall to pieces because he has added a boy to their number? Okonkwo, you have become a woman indeed (65).

These two quotes give readers piercing insight into Okonkwo as a character. His words allow us to see what he values and how his values are a double-edged sword.

What does Harrison's rebellion reveal about his character and his values?

In Vonnegut's short story Harrison Bergeron, the titular character rejects the handicaps placed on him by his society's oppressive government, declares himself Emperor, and exhibits his superhuman physical skill on live television. Harrison's actions primarily show his bravery; he very publicly denies the authority of a totalitarian government, breaking several laws by removing each of his handicaps as well as those limiting the ballerina and musicians. Additionally, Harrison is shown to be very confident and strong-willed when he declares himself Emperor, claiming that he is "a greater ruler than any man who ever lived," and begins issuing orders to those in the room with him. Harrison's intelligence and capability are established by the extent of the limitations on his vision and hearing, but further confirmed by his ability to resist even the strongest handicaps. Despite having his abilities restricted on every level, Harrison still manages to concoct a plan of resistance, something no one else in the story manages to do on their own.

What would happen to the mice if all of the foxes left this ecosystem?

In an ecosystem, there are food chains and a food web, which is composed of interconnected food chains. Each organism, in an ecosystem, is part of a food chain and the food web. If any change takes place at any trophic level in a food chain, the results are significant, while those in a food web are relatively mild. 

For example, mice are common prey for foxes. If all the foxes are removed from the ecosystem, mice will have less predators. Remember that foxes are not the only predators of mice and in a food web, all the prey and predator are connected to each other. Thus, the removal of foxes will reduce the total predator count, not reduce it to 0. A reduction in the predator population will cause an increase in the mice population. More mice will mean more food for other predators of mice (say snakes) and thus the snake population will also rise. An increase in the mice population will also cause a reduction in the food of mice, since more mice will eat more food. Thus, for a brief duration, the food of mice will be under stress, while the population of mice and other predators of mice will increase. However, a new equilibrium will soon be established between mice and their other predators and the ecosystem will continue to function without major modifications.

Hope this helps. 

Identify the metaphors in the poem ''Oranges'' by Gary Soto.

There are several metaphors, or comparisons, in this poem. One is Soto's description of the candies "tiered like bleachers" (this is technically a simile because it is a comparison that uses "like" or "as," but it is a form of metaphorical language in which one thing is compared to another). In this simile, the rows of candies in the store are compared to the bleachers in a stadium. Another example of a simile is "fog hanging like old/Coats between the trees." In this use of metaphorical language, the thick fog is compared to coats on hangers that hang from the trees and obscure one's vision. The last several lines of the poem are a kind of extended metaphor in which the orange that the narrator carries in his pocket and then peels is compared to "a fire in my hands." This fire could also stand for the warmth and love he feels towards the girl with whom he is walking. 

How does the FITT principle prevent heart disease?

The FITT principle refers to a set of guidelines relating to the Frequency, Intensity, Type and Time (FITT) of exercise that needs to be adhered to in order to benefit from fitness training.

The risk of developing heart disease is dependent on certain factors which are either modifiable or non-modifiable. The modifiable risk factors are called the primary risk factors and that includes smoking, high blood pressure et.c. The non-modifiable risk factors or secondary risk factors include having immediate relatives with heart disease.

Regular exercise has a positive impact on the primary risk factors and the FITT principle demonstrates the appropriate amount of exercise that is required to mitigate these risk factors.

For example regular aerobic activities are known to reduce blood pressure by about 5-10mmHg which translates to a 10-20% reduction in the risk of developing heart disease. Similarly, individuals who engage in regular aerobic exercises lower their bad cholesterol level while significantly increasing their good cholesterol.

`int sqrt(x^2 + 2x) dx` Evaluate the integral

`intsqrt(x^2+2x)dx`

Let's rewrite the integrand by completing the square for `x^2+2x` ,

`=intsqrt((x+1)^2-1)dx`

Now apply integral substitution,

Let u=x+1,

`=>du=1dx`

`=intsqrt(u^2-1)du`

Now again apply the integral substitution,

Let u=sec(v),

`=>du=sec(v)tan(v)dv`

`=intsqrt(sec^2(v)-1)sec(v)tan(v)dv`

Now use the identity: `sec^2(x)=1+tan^2(x)`

`=intsqrt(1+tan^2(v)-1)sec(v)tan(v)dv`

`=intsqrt(tan^2(v))sec(v)tan(v)dv`

assuming `tan(v)>=0,sqrt(tan^2(v))=tan(v)`

`=inttan^2(v)sec(v)dv`

Using the identity: `tan^2(x)=sec^2(x)-1`

`=int(sec^2(v)-1)sec(v)dv`

`=int(sec^3(v)-sec(v))dv`

Apply the sum rule,

`=intsec^3(v)dv-intsec(v)dv`

Now let's evaluate the first integral by applying the integral reduction,

`intsec^n(x)=(sec^(n-1)(x)sin(x))/(n-1)+(n-2)/(n-1)intsec^(n-2)(x)dx`

`intsec^3(v)dv=(sec^2(v)sin(v))/2+(3-2)/(3-1)intsec(v)dv`

`intsec^3(v)dv=(sec^2(v)sin(v))/2+1/2intsec(v)dv`

Now use the common integral: `intsec(x)dx=ln|sec(x)+tan(x)|`

`intsec^3(v)dv=(sec^2(v)sin(v))/2+1/2(ln|sec(v)+tan(v)|)`

Now plug back the above integral and the common integral,

`=(sec^2(v)sin(v))/2+1/2(ln|sec(v)+tan(v)|)-ln|sec(v)+tan(v)|`  

`=(sec^2(v)sin(v))/2-1/2(ln|sec(v)+tan(v)|)`

`=sin(v)/(2cos^2(v))-1/2(ln|sec(v)+tan(v)|)`

`=(sec(v)tan(v))/2-1/2(ln|sec(v)+tan(v)|)`

Now substitute back: `u=sec(v). u=(x+1)`

`=>v=arcsec(u)`

`=>v=arcsec(x+1)`

`=(sec(arcsec(x+1))tan(arcsec(x+1)))/2-1/2(ln|sec(arcsec(x+1))+tan(arcsec(x+1))|)`

Now `tan(arcsec(x+1))=sqrt((x+1)^2-1)`

`=((x+1)sqrt((x+1)^2-1))/2-1/2(ln|(x+1)+sqrt((x+1)^2-1)|) + C`

What oxymorons are in the second and the last stanza of "Dulce et Decorum Est" by Wilfred Owen?

Oxymorons, figures of speech that put together two opposing words, often create paradoxes with just a few words.

In the second stanza of Wilfred Owen's "Dolce et Decorum Est," the oxymoron is in the first line of the stanza, line 9, as Owen describes the terrible gas that the Germans used against the Allied Troops in World War I:

Gas! Gas! Quick, boys!--an ecstasy of fumbling [...]

Certainly, the word ecstasy has a positive denotation of joyous excitement that opposes the idea of putting on gas masks to protect oneself from poisonous fumes. However, the word fumbling carries with it negative connotations and denotations since it means to use the hands in a clumsy or groping manner. Thus, a paradox is created.

In the last stanza of this poem, the oxymoron is line 26:

To children ardent for some desperate glory,

The meaning of desperate carries with it a negative denotation: reckless from despair or a sense of hopelessness. The word glory, on the other hand, is positive as it means exalted praise, or honor. This creates another paradox.

The apparent contradiction occurs as Owen implies that only someone desperate to be called a war hero would want to go to a war in which he would be subjected to the hideous pain and conditions as given in the description of the young man who could not get his gas mask on in time. Indeed, as the others watch the pitiful soldier thrown into a wagon with other dead soldiers, they realize only too well the meaning of the "old Lie," Dulce et decorum est.

Provide a summary of "The Summer of the Beautiful White Horse."

William Saroyan is the author of "The Summer of the Beautiful White Horse." He lived from 1908-1981, and his stories were often autobiographical. Like Mourad and Aram in this story, he was the son of an Armenian immigrant. 

"The Summer of the Beautiful White Horse" is set in the San Joaquin Valley in California. The narrator of the story is nine-year-old Aram. Aram's cousin Mourad surprises him one morning by tapping on his window from the back of a magnificent white horse. Mourad is generally accepted to be crazy by everyone except Aram. Even given this, Aram cannot believe what he is seeing. Their family lives in extreme poverty, so Aram knows Mourad could not afford to buy a horse. 

What makes the appearance of the horse more unusual is that the Garoghlanian family has prided itself on its honesty, and moral compass. They are a family that for eleven centuries has been famous for its honesty. 

"I knew my cousin Mourad enjoyed being alive more than anybody else who had ever fallen into the world by mistake, but this was more than even I could believe. In the first place, my earliest memories had been memories of horses and my first longings had been longings to ride. This was the wonderful part. In the second place, we were poor. This was the part that wouldn't permit me to believe what I saw. We were poor. We had no money. Our whole tribe was poverty-stricken. Every branch of the Garoghlanian family was living in the most amazing and comical poverty in the world. Nobody could understand where we ever got money enough to keep us with food in our bellies, not even the old men of the family. Most important of all, though, we were famous for our honesty. We had been famous for our honesty for something like eleven centuries, even when we had been the wealthiest family in what we liked to think was the world. We were proud first, honest next, and after that we believed in right and wrong."  

Mourad encourages Aram to come with him on a ride before dawn so that no one else will know about the secret horse. As they are riding, Mourad begins to sing. Aram explains that every family has a crazy streak, and Mourad was considered to have been the recipient of the crazy streak in the family. Aram's Uncle Khosgrove is another crazy member of the family, a large, loud man who says "It is no harm! Pay no attention to it!" to nearly everything that happens, including the fire in his own house. Though Mourad is not a biological descendant of Uncle Khosgrove, he's considered the son of his spirit because they are so similar. 

Mourad rides the white horse like an expert, because as he says, he "has a way with horses." Aram wants to do the same thing but is thrown from the horse. Mourad and Aram have to find the horse, and when they do, they hide him in an abandoned barn on a deserted vineyard. Aram talks Mourad into keeping the horse for at least six months until he learns to ride. 

Meanwhile, the owner, John Byro appears. He is an Assyrian who has learned the Armenian language because he is living in a large Armenian community. He complains about the loss of his horse. Uncle Khosgrove tells him to pay no attention to it, but John Byro says he can't walk due to pains in his leg. He paid sixty dollars for the horse, and he has no way to pull his surrey without the horse. 

One day, John Byro sees Mourad and Aram on the horse. He is amazed because the horse is a twin of his own. He even looks in the horse's mouth and sees it is exactly like his horse. He says that a suspicious man would believe his eyes and not his heart, but he knows the Garoglanian family is honest. 

The boys return the horse, and John Byro shows up the next day in his surrey to show Uncle Khosgrove that the horse has been returned. "Pay no attention to it," Uncle Khosgrove exclaims. 

What does the Wife of Bath think of marriage?

The Wife of Bath is one of Chaucer's most enduring characters, especially since she functions as a remarkably early example of a feminist. Indeed, the Wife seems to reject traditional notions of femininity, as she values her independence and has a refreshingly unconventional philosophy when it comes to marriage. Flouting the idea that married women should meekly submit to the authority of men, the Wife suggests that women should have the power in marriage. She cements this idea by telling a tale focused on what women want (this turns out to be sovereignty), and she ends this story with a woman winning authority and power within marriage. As such, while the Wife does not object to marriage (indeed, since she's been married five times, she seems to rather enjoy it), she does want to change traditional notions of matrimony, as is evident from her belief in the need for female sovereignty.  

In Boyne's The Boy in the Striped Pajamas, what does Bruno's view of reading reveal about his character?

In chapter 9 of Boyne's The Boy in the Striped Pajamas, Bruno gets a private teacher named Herr Liszt during his stay in the house at Auschwitz. He quickly discovers that Liszt enjoys teaching history and geography the best. When Bruno tells his teacher that he prefers reading and art over learning about history and geography, Liszt says the following:

"Those things are useless to you . . . A sound understanding of the social sciences is far more important in this day and age" (97).

Bruno asks his teacher why reading is not considered important. Herr Liszt explains that only books that "matter in the world" are useful. Apparently, fictional story books are considered useless. Bruno tells his teacher that he also enjoys performing plays with his grandmother back in Berlin, but this does not impress Liszt. In fact, he tells Bruno that his job is to get the boy's head out of his "storybooks" (98). The fact that Bruno loves reading fiction and performing plays demonstrates his interest in being creative and imaginative. Furthermore, Bruno has not yet been spoiled by any Nazi indoctrination, prejudice, or propaganda.

What is "Snowflake" by Robert Frost about?

Robert Frost did not write a poem called "Snowflake." Since you are posting the question under "Stopping by Woods on a Snowy Evening," you evidently meant this poem, which does speak about snowflakes. In the poem, a man and his horse have paused in their journey next to a frozen lake "to watch [the] woods fill up with snow." The scene is very quiet except for the shaking of the horse's harness bells and the "sweep of easy wind and downy flake." The man contemplates the peaceful scene as he realizes that he has "promises to keep and miles to go before I sleep."

Like many of Frost's poems, this poem has a literal meaning related to nature and a deeper metaphysical meaning that deals with truths about life and existence. The literal meaning is clear enough: A man stops for a moment on his journey to enjoy a beautiful and peaceful winter landscape. The deeper meaning is open to interpretation. Many have suggested that the poem speaks of a person's wish to die or even commit suicide--the idea being that the woods, described as "lovely, dark and deep," represent death and the man's attraction to them shows he wants to die. He knows, however, he has "miles to go before I sleep," meaning, much longer to live before he can die.

Others see the woods merely as a temporary escape from the demands of life, the responsibilities that are weighing the man down and that he must fulfill before he can "sleep," or rest from his duties. As much as the man would like to keep avoiding what he has to do, the call of the commitment he has made to others does not allow him to remain idle for very long. Another idea is to view the woods as any distraction, such as a siren song, that would lure one away from the path he is meant to take in life. 

Whatever the specific interpretation one prefers, the meaning is that if a person is to keep his promises, he must persevere despite distractions and temptations.

How can fear be dangerous in "Once Upon a Time"?

In Nadine Gordimer's “Once Upon a Time,” fear proves to be the family’s downfall. A family lives in a city in which there is great social unrest—modeled largely on South Africa—and fears riots and burglaries. Once further security is suggested by the husband’s mother, described as a “wise old witch,” the couple find themselves in an escalating war against their own fear. A neighborhood watch program is not enough to assuage their fears, so they get an electronically controlled fence. Having noticed a hole in one aspect of their security, they seek to mend it. Ironically, many of these measures make them more vulnerable, such as the alarms:

The alarms called to one another across the gardens in shrills and bleats and wails that everyone soon became accustomed to, so that the din roused the inhabitants of the suburb no more than the croak of frogs and musical grating of cicadas' legs. Under cover of the electronic harpies' discourse intruders sawed the iron bars and broke into homes, taking away hi-fi equipment, television sets, cassette players, cameras and radios, jewelry and clothing, and sometimes were hungry enough to devour everything in the refrigerator or paused audaciously to drink the whiskey in the cabinets or patio bars.

Quite plainly, the alarms cause more problems than they solve; however, the family does not appear to realize this fact. Their fear outweighs their common sense.

Near the end of the story, the family possesses an electronically-controlled fence, alarms, a seven-foot tall fence, and trusted employment: they ought to feel safe. The sight of their cat scaling the fence causes their security concerns to well up again, so they choose to arm the top of their fence with a vicious wire coil. Their child, after reading Sleeping Beauty, tries to make his way through the thorns to find a princess, but instead gets caught in the razors; he dies as a result.

Fear is the rationale behind the family’s actions, and look where it brought them: their only child is dead, indirectly by their hand. They do not even have the satisfaction of knowing that their efforts kept them safe, because they so clearly didn’t. Their internal desire for safety outpaced the actual threat at hand—in other words, their fear was disproportionate—and it led to the loss of their child.

In "Contents of the Dead Man's Pocket," why does Tom go out on the ledge?

In the short story “Contents of the Dead Man’s Pocket” by Jack Finney, Tom Benecke goes out on the ledge of his apartment building to retrieve a piece of paper. It is not just any piece of paper; it is ledger containing the results of many months of personal market research Tom accumulated in hope of presenting new, innovative ideas to his bosses. He must decide whether the risk of retrieving the piece of paper is worth the reward.

The author alludes to a play on words by having Tom “go out on a ledge.” When one does that, they are generally putting themselves in a dangerous or difficult situation with the hope of receiving accolades or rewards for presenting an idea that goes against the mainstream. In this case, Tom goes out on the ledge of a building that is eleven stories above a busy New York City street.

As you read the story, you determine whether the risk was worth the reward for Tom’s escapades on that ledge.

How is maternal love conveyed in the text of Romeo and Juliet?

Lady Montague expresses her maternal love by being protective of Romeo and concerned for his physical safety and emotional well-being.  When she and her husband arrive at the scene of the street fight, she asks Benvolio if he has seen Romeo today.  She says, "Right glad I am he was not at this fray" (1.1.119).  She is worried about him because, as Lord Montague says, he has been so sad lately that he just cries and shuts himself away in his bedroom, even closing the curtains so that the sunlight cannot get in. 

Lady Capulet expresses her maternal love in a somewhat less obvious way.  She speaks to Juliet about the fact that Count Paris wants to marry her, saying that many girls are made mothers by the time they are her age.  She seems to feel that getting Juliet married is her primary duty, as it is really the only topic we ever see them discuss.  Lady Capulet is the one to present Juliet with the news, after Tybalt's death, that Lord Capulet has scheduled her wedding to Paris for later that week, and when Juliet refuses this plan, her mother attempts to wash her hands of her.  After Lord Capulet promises to allow Juliet to starve in the streets should she continue to disobey him, Lady Capulet says, "Talk not to me, for I'll not speak a word. / Do as thou wilt, for I have done with thee" (3.5.214-215).  Therefore, her maternal love seems a great deal weaker than Lady Montague's. 

What are all of the possible genotypes if a woman with type A blood and a man with type B blood have children?

The trait of blood type in humans has three alleles—A, B, and O. The alleles for A and B are co-dominant and the allele for type O is recessive.

If both parents mentioned in the question are heterozygotes, their genetic makeup would be AO and BO—with each carrying a recessive O allele.

In a cross, the offspring produced are 25% type AB, 25% type B, 25% type A, and 25% type O.

Therefore, these parents have a 1/4 chance of producing any of the four blood types every time they produce a child. 

I have included a link showing a Punnett square with these two parental genotypes and the outcomes.

What are some important details about the middle of the novel Hoot?

Carl Hiaasen's novel Hoot consists of twenty-one chapters and an epilogue. Therefore, the middle of the book would cover chapters eight through fourteen. Here are some important details from those chapters:

• In chapter eight, Curly hires Kalo, a dog trainer who owns Rottweilers, to guard the construction site. There has been continued vandalism on the site, and Chuck Muckle, the vice president, has threatened to fire Curly if anything else goes wrong. 


• Roy refuses to back down or cower in Dana Matherson's presence. He stands up to Dana's threats and is rewarded with two punches in the head. 


• In chapter nine, Kalo takes his dogs from the site because there are snakes on the property. Kalo says, "each of dogs is vorth three thousand U.S. dollars. Zat iss twelve thousand bucks barking here in za truck. Vhat happens, dog gets bit by snake? Dog dies, yah?" The snakes are cottonmouths and have sparkly tails. 


• Garrett warns Roy that Dana is planning to ambush him after school. Dana grabs him and puts him in a janitorial closet in order to beat him up. The chapter ends with Roy escaping the closet and starting to run. The last line is: "He almost made it, too." 


• In chapter ten, Beatrice Leep rescues Roy from Dana by tying him to the flagpole and stripping him down to his underwear. Roy and Beatrice go to his house and tell Roy's mother they are working on a science experiment. They take medical supplies to treat Mullet Fingers, aka Napoleon Leep, who is Beatrice's stepbrother.


• Mullet Fingers is suffering from an infected dog bite. He learns Mullet Fingers has been vandalizing the construction site in order to save the owls. 


• In chapter eleven, Officer Delinko sees Roy waving at him for help, but then being pulled away. Mullet Fingers is getting sicker by the minute, but Beatrice disagrees with Roy's method of solving the problem. She does not want police involvement. Officer Delinko goes to the Eberhardts' home to tell them that he thinks he saw Roy. He asks for a recommendation from them for the time he took Roy home. 


• In chapter twelve, Beatrice and Roy get Mullet Fingers to the emergency medical clinic. They lie about Mullet Fingers's name, telling Dr. Gonzalez his name is Roy. Roy calls himself "Tex." The doctor questions the truthfulness of their story, which is that Beatrice's stepbrother got attacked by dogs at soccer practice and they brought him right to the clinic. She says the bites are eighteen to twenty-four hours old. Roy's parents show up at the clinic with Officer Delinko. There is confusion because of the fake name given to the patient, and Mullet Fingers escapes the clinic, causing further confusion. 


• In chapter thirteen, Roy's father talks to him about the owls. He tells Roy that the people in charge of construction most likely got the proper permits and the owls will find new homes. Roy divulges some of Mullet Fingers's story to his mother. The chapter ends with Roy in a dilemma about whether to follow his heart or his brain. 


• In chapter fourteen, Roy visits Dana's house to try to reason with him. There is no reasoning with Dana, however, and he just continues to try to harm Roy. He talks with Mullet Fingers about what his dad said, that the Mother Paula's people have every right to build on the land. Mullet Fingers tells hims he has to start "thinking like an outlaw." Roy says he's not an outlaw and refuses to go along with Mullet Fingers's tactics. Mullet Fingers shows him how he got his nickname, catching a mullet fish with his bare hands.

What is the role of the chorus in Antigone?

In ancient Greek drama, the chorus is a group that comments collectively on the play's action and context. The role of the chorus is to provide information not revealed in dialogue, such as context within mythology, narration, and the characters' thoughts.

In Antigone, the chorus consists of Theban elders. They provide background information connecting Antigone's story to other myths and comment on the play's action. The chorus in Antigone even participates in the action of the play occasionally; for example, at one point Creon consults them and they provide their support for his decision, although they later oppose Creon when he considers punishing Ismene. The play closes with a monologue by the Theban elders about how the gods' punishment can bring wisdom.

What values are implied in lines 691-696? What message about these values do the lines convey?

Considered the first piece of formal English literature, Beowulf is an epic poem that recites the grisly tale of a warrior’s magnificent battle with monsters.  Central to the poem’s structure, which is divided into three parts entitled, “Grendel,” “Grendel’s Mother,” and “The Dragon,” is the theme of heroism and its ability to transcend time and cultures.  The poet, as an artist, deliberately guides the reader through the “Grendel” and “Grendel’s Mother” sections to explore the relationship of kingship and bravery.  Beowulf himself provides a brief description of the Anglo-Saxon heroic code, stating “wyrce sé þe mote / dómes aér déaþe þæt bið drihtguman, / unlifgendum æfter sélest” (1187-1189).  This is translated into, “Gain he who may / glory before death; that is for the warrior, / unloving, afterwards the best.” Here, heroism is defined as achieving honorable immortality prior to death. 

Lines 691-696 uphold these values of heroism.  Translated from the original text, these lines read as follows:

none of them thought that he thence would

 his dear home again ever visit,

 his folk or his noble citadel, where he was nurtured

for they had heard that far too many of them already

in that wine-hall slaughtering death had carried off

of the Danish people.

In this excerpt, the poem’s persona conveys the fear and sorrow many of the Geats possessed for they believed as soon as they stepped foot in the “wine-hall” and waited for Grendel, they would never reemerge.  The Geats reflect on their homes, placing an emphasis on the value of family and origin.  By using the diction of “dear,” “noble,” and “nurtured,” they convey a deep-rooted love and fidelity for their legacy and ancestry.  There is also an intrinsic value placed on courage, for the Geats are aware that many of the men who have gone before them have been killed, yet they remain steadfast in their ambition to slaughter the terror-reigning monster.

Thus, the combined values of ancestral homage and bravery convey the message of heroism, for as previously mentioned, an Anglo-Saxon hero was an individual who achieved honor and fame for dying for a noble cause.  The Geats stand in Mead Hall with the understanding that they may die at the hands of the monster, yet they want to bring honor to their family, ancestors, and themselves. 

What are three sensory details (visual, tactile, and auditory) from "The Seafarer" by Ezra Pound?

In "The Seafarer," the poet includes visual detail in the lines "the anxious night watch/ often took me/ at the ship's prow." On this night watch, the narrator sees the cliffs while watching from the front of the ship. Tactile detail is given in the lines "Fettered by cold/ were my feet/ bound by frost/ in cold clasps." In these lines, the reader can imagine the feeling of cold gripping the narrator's feet as the frost gathers around him or her. The poet provides many auditory details, including "the roaring sea," and later the song of the swan, noise of the gannett, and sound of the curlew (a bird). The narrator also hears men's laughter, as well as the sounds of the gull, tern, and eagle. After the poet provides tactile, auditory, and visual details of life at sea, the focus of the poem turns to the emotional reality and loneliness of being at sea.

Who is symbolized as a mockingbird in To Kill a Mockingbird?

The two symbolic mockingbirds are Boo Radley and Tom Robinson.

Atticus tells his children not to shoot mockingbirds when they get guns for Christmas.  He tells them that it is a sin to kill a mockingbird.  Scout is surprised, because her father never says anything is a sin.  She asks Miss Maudie to explain.  Miss Maudie tells her that mockingbirds are harmless, and only make nice music for us to enjoy.

The mockingbird thus becomes symbolic for someone who is victimized by society when he is really a gentle creature.  Tom Robinson is a victim because he is targeted by the Ewells because of his race.  He was trying to help Mayella.  For this, he was accused of rape and convicted.  In an editorial, Mr. Underwood compares him to a songbird, giving us our first symbolic mockingbird comparison. 

Mr. Underwood simply figured it was a sin to kill cripples, be they standing, sitting, or escaping. He likened Tom’s death to the senseless slaughter of songbirds by hunters and children … (Ch. 25) 

Tom Robinson did not do anything to Mayella.  He was a scapegoat and target of fear. The people of Maycomb were just not ready to accept a black man’s innocence.  Knowing this, he killed himself by escaping prison.  He did not want to take his chances with an appeal. 

The second mockingbird is Boo Radley. He is a victim of society too.  Because he is different, he is ostracized.  He never even comes out of his house.  He is timid, shy, and reclusive.  Scout learns that he is not a monster, as the neighborhood believes, but just a gentle soul.  He rescues Scout and Jem from Bob Ewell.  Atticus asks Scout if she understands why they are keeping Boo’s involvement a secret. 

“Scout,” he said, “Mr. Ewell fell on his knife. Can you possibly understand?” Atticus looked like he needed cheering up. I ran to him and hugged him and kissed him with all my might. “Yes sir, I understand,” I reassured him. “Mr. Tate was right.  … Well, it’d be sort of like shootin‘ a mockingbird, wouldn’t it?” (Ch. 30) 

Telling everyone what happens would bring notoriety to Boo Radley, which he would not want.  They decide to pretend that Bob Ewell fell on his knife and died by accident while attacking the kids.  That way they can protect Boo and keep him out of it.  Bringing fame to such a shy man would be like killing a mockingbird. 

What is Poe suggesting about the impact of losing a loved one in "Annabel Lee"?

Edgar Allan Poe wrote this poem as he was witnessing the slow death (from tuberculosis) of his young wife, Virginia Clemm Poe.  He imagines all too clearly the separation her death will bring to their love.

In the poem, Annabel Lee has already died and left the speaker bereft.  He declares that neither angels in Heaven nor demons in Hell can ever separate their eternally entwined souls.

The memories of Annabel Lee are permanent for him, and there will always be reminders of her in the natural world.  When the moon appears, he gets lost in dreams of her, and when the stars come out at night, he imagines her bright eyes.

In the final stanza, the speaker describes lying next to her burial chamber, unable to move on with this life.  Clearly, the impact of losing a loved one can drive a survivor to irrational and obsessed behavior, according to Poe's speaker.

What are some quotes that show what people think about Walter Cunningham in To Kill a Mockingbird?

Walter Cunningham is the son of a poor farmer. He is in Scout’s grade, and, despite their differences in social class, the two are somewhat friends. 

Scout tells Miss Caroline not to lend Walter a quarter to buy lunch. Scout is trying to help Walter because Miss Caroline is new and does not really understand Maycomb's social structure. Scout says Miss Caroline will soon get to know the “country folk:”

The Cunninghams never took anything they can’t pay back—no church baskets and no scrip stamps. They never took anything off of anybody, they get along on what they have. They don’t have much, but they get along on it (Chapter 2).

Scout is trying to explain that, although the Cunninghams are poor, they are proud. She knows this because Atticus had Walter Cunningham, Sr. as a client and he explained to Scout that the Cunninghams were poor because they were farmers and times are difficult for farmers.

Scout invites Walter home for lunch, but finds she doesn’t really understand him. He talks like an adult and pours syrup over his entire dinner. Scout is upset when she is scolded for saying "he’s just a Cunningham.” Calpurnia tells Scout to treat Walter with respect.

Hush your mouth! Don’t matter who they are, anybody sets foot in this house’s yo‘ comp’ny, and don’t you let me catch you remarkin’ on their ways like you was so high and mighty! Yo‘ folks might be better’n the Cunninghams but it don’t count for nothin’ the way you’re disgracin‘ ’em (Chapter 3).

Not everyone feels this way about Walter; Aunt Alexandra calls Walter trash. Scout does not understand why Alexandra tells her not to play with Walter.

“I’ll tell you why,” she said. “Because—he—is—trash, that’s why you can’t play with him. I’ll not have you around him, picking up his habits and learning Lord-knows-what. You’re enough of a problem to your father as it is" (Chapter 23).

To Alexandra, a person’s social class and family name are very important. She tries to impress upon Scout that Walter Cunningham is not fit company for a Finch. This contradicts Atticus’s tendency to treat everyone with respect regardless of class.

In Beowulf, how does Grendel endure much of what an epic hero endures, and paradoxically give to “his” people the kinds of “boons” or...

Grendel, the antagonist of Beowulf, is in some ways similar to an epic hero. Like an epic hero, he has a noble or unusual birth. His ancestor is Cain, who killed his brother Abel in the Old Testament of the Bible. Grendel benefits from being Cain's descendant because he has supernatural powers, such as the ability to render other people's weapons useless. Grendel is able to use his supernatural powers to his advantage until fate intervenes against him. As the epic states, "No longer was it fate's decree that he might, after that night, feed on more of the race of men" (translation by Clarence Griffin Child). When fate is no longer in his favor, Grendel is defeated by Beowulf, who removes his arm in a fatal wound.

Grendel conducts a campaign of terror on men, and, in waging war, he provides some types of "boons" to his people, much the same way an epic hero does. For example, for a long time he wins his battles: "Thus had Grendel mastery and warred against the right, he alone against all." Even fighting alone, he is so fearsome that he can defeat all his enemies. As a result, the controls the land: "Night after night he held the misty moors." He is lord of the moors--not the noble Danes. In this way, he provides the sense of pride that an epic hero does. 

In To Kill A Mockingbird, what page number describes Scout's attire?

Different publications of the book usually have different page numbers from one to the other. However, in chapter nine Scout explains what happens between her and her Aunt Alexandra with regards to her attire. In the Warner Books edition, a purple book, the description of her clothing is on page 81. Aunt Alexandra is opposed to Scout wearing overalls or pants. In fact, Aunt Alexandra tells her niece that she should be wearing a dress at all times. Scout claims that there too many things she wouldn't be able to do in a dress; to which her aunt replies that little girls shouldn't be doing anything that requires pants.

Then, in chapter 12, Calpurnia makes sure that Scout's Sunday dress is full of starch. Cal also makes Scout wear a petticoat "and wrapped a pink sash tightly around" her waist (118). She even goes over Scout's leather shoes with a biscuit to make them shine. So, Scout wears dresses on Sunday for church, she just doesn't like wearing them outside when she plays with the boys and gets dirty.

Finally, her aunt gets her wish to see Scout in a dress in chapter 24, when she does wear a dress to Aunt Alexandra's tea party. When Miss Maudie asks her where her pants are, though, Scout tells everyone that they are under her dress. That interchange is on page 228.

What quotes are said about Meryl Lee in The Wednesday Wars?

The first quote to appear that gives the reader some insight into Meryl Lee's character is the following quote.  

So I asked Meryl Lee Kowalski, who has been in love with me since she first laid eyes on me in the third grade -- I'm just saying what she told me -- I asked her to open my desk first. 

The quote is important to the text, because it tells readers two things.  First, the quote explains that Meryl Lee and Holling have known each other for a fairly long time.  Second, the quote foreshadows the budding relationship between Holling and Meryl Lee that occurs as the book progresses.  

Despite being a seventh grade girl who is in love with a classmate of hers, Meryl Lee is no damsel in distress.  In fact, I would say that she is a bit of a bully toward Holling at times.  I'll call it inept junior high flirting, but it doesn't change the fact that Meryl Lee isn't afraid of physically threatening Holling.  Take the following quote for example which happens during choir.  

Meryl Lee moved her hand toward my throat.  

Meryl Lee is not making a romantic move.  She is attempting to force Holling to repeat his Shakespearean insult.  

I like this next quote about Meryl Lee.  In fact, it's her saying the quote too.  

"Who's Mickey Mantle?" 

It's a very short quote, but it clearly shows that she doesn't have a care in the world for professional baseball.  Not knowing who Mickey Mantle is to baseball is like saying you don't know who Einstein is to science or who Shakespeare is to literature. 

`int_0^ln5 e^x/(1+e^(2x)) dx` Evaluate the definite integral

For the given integral problem:` int_0^(ln(5))e^x/(1+e^(2x))dx` , it resembles the basic integration formula for inverse tangent:

`int_a^b (du)/(u^2+c^2) = (1/c)arctan(u/c) |_a^b`

where we let:

`u^2 =e^(2x) ` or` (e^x)^2 `   then `u= e^x`

`c^2 =1` or `1^2` then `c=1`

For the derivative of `u =e^(x)` , we apply the derivative of exponential function:

`du =e^x dx` .

Applying u-substitution: `u = e^x ` and` du = e^x dx` , we get:

`int e^x/(1+e^(2x))dx =int (e^xdx)/(1+(e^x)^2)`

                              `=int (du)/(1+(u)^2)`

Applying the basic integral formula of inverse tangent, we get:

`int (du)/(1+(u)^2) =(1/1)arctan(u/1)`

                           = `arctan(u)`

Express it in terms of x by plug-in `u=e^x` :

`arctan(u) =arctan(e^x)`

Evaluate with the given boundary limit:

`arctan(e^x)|_0^(ln(5)) =arctan(e^(ln(5)))-arctan(e^0)`

                          ` =arctan(5)-arctan(1)`

                                ` =arctan(5) -pi/4`

In what ways is Maycomb the same as it was before Tom Robinson's trial in To Kill a Mockingbird?

Just as Miss Maudie points out the day after the trial, in Chapter 22 of Harper Lee's To Kill a Mockingbird, Maycomb has only made a "baby-step" as a result of the trial.

In Miss Maudie's view, Maycomb has made a baby step towards creating a more just society because people like Judge Taylor did what they could to help Tom Robinson. Judge Taylor did what he could by appointing Atticus, who likewise did all he could by putting his all into defending Robinson. As Miss Maudie further points out, though it was impossible for Atticus to actually win the case, he was at least capable of making the jury members think long and hard about their decision.

Yet, Miss Maudie is perfectly correct in asserting that Maycomb has only made a "baby-step," meaning that very little has changed because the step is too small to even be noticeable. Maycomb is still the same with respect to its racism and its other prejudices.

Racism is especially seen in the townspeople's reactions to Robinson's death. According to Scout's narration, the townspeople said very negative, racist things in reaction to Robinson's death such as how it's "[t]ypical of a nigger to cut and run" and how, despite the fact that Atticus might have been able to get a judge to overturn Robinson's sentence, it's typical of someone like Robinson to "just run blind first chance he saw" (Ch. 25). The townspeople's most racist comments reveal their prejudiced belief that all African Americans are inherently evil and immoral, as we see in the following:

Just shows you, that Robinson boy was legally married, they say he kept himself clean, went to church and all that, but when it comes down to the line the veneer's mighty thin. Nigger always comes out in 'em. (Ch. 25)

Even Maycomb's other prejudices remain the same, which is why when Arthur Radley rescues the children by taking Bob Ewell's life, Sheriff Taylor fears Arthur's exposure and talks Atticus into dropping the matter. As Sheriff Taylor explains to Atticus, if Arthur is exposed for his courageous deed, which can easily be misconstrued as evil by many townspeople, the townspeople would start knocking on his door endlessly. Sheriff Taylor phrases his warning in the following:

To my way of thinkin', Mr. Finch, taking the one man who's done you and this town a great service an' draggin' him with his shy ways into the limelight--to me, that's a sin. It's a sin and I'm not about to have it on my head. If it was any other man, it'd be different. But not this man, Mr. Finch. (Ch. 30)

Sheriff Taylor's speech shows us that some people, like himself, have changed by becoming more open-minded; it's open-minded to value Arthur's courageous action and want to protect him. Yet, his speech also shows that there still exists in Maycomb a need to protect people like Arthur due to the prejudices of the vast majority of Maycomb's people.

Hence, like Miss Maudie said, though the town has made a "baby-step," they still need to progress much farther to be able to relinquish their racist and prejudiced views, and that major step may never really take place.