Does Romeo ever compliment Juliet on her personality and not just her appearance?

Romeo and Juliet are together three times during the course of the play. It's actually four, but it's hard to count Act V, Scene 3 because they don't really speak to each other. Throughout the scenes when they do speak, Romeo mainly concentrates on Juliet's looks and says virtually nothing about her personality. A good reason for that could be that he really doesn't know her very well and most of their discussions are pronouncements of love or, in Act III, Scene 5, a debate over which bird is singing outside of Juliet's bedroom in the morning after their honeymoon night. Romeo, however, does attempt to compliment something other than Juliet's appearance in the wedding scene, Act II, Scene 6. When Juliet arrives at Friar Laurence's cell, Romeo suggests that Juliet has more ability than he does to put into words the future happiness the two will share:

Ah, Juliet, if the measure of thy joy

Be heaped like mine, and that thy skill be more

To blazon it, then sweeten with thy breath

This neighbor air, and let rich music’s tongue

Unfold the imagined happiness that both

Receive in either by this dear encounter.

Juliet replies that she is now so rich because of their love that she cannot even count half of that wealth.

In Animal Farm, what are five similarities between Napoleon and Snowball?

While Napoleon and Snowball have different personalities, they share a number of common characteristics. They both have aspirations of leadership, for example, as we see in Chapter Two when they assume control of the preparations for the forthcoming rebellion. These preparations also demonstrate their intelligence, as shown by their work on the development of Animalism.

In addition, both Napoleon and Snowball are ambitious. For Snowball, this is expressed through his many education committees, designed to aid the intellectual development of the other animals. In contrast, Napoleon demonstrates his ambition when he steals the cows' milk so that the pigs can have it in their mash.

When the two pigs go head to head over the windmill, we get a sense of how competitive they are and neither one is prepared to concede to the other. This demonstrates their mutual stubbornness and ultimately leads to the breakdown of their relationship and Snowball's violent expulsion. 

In what way has the house infantalized the Hadleys in "The Veldt"?

The house takes care of the Hadley family’s every need. 

The Hadley family paid a fortune for the technological marvel that is their house.  The house is an automated smart home of sorts, but it does much more than most of our houses do today.  The house has so much technology that it seems to meet almost all of the family’s needs. 

They walked down the hall of their soundproofed Happylife Home, which had cost them thirty thousand dollars installed, this house which clothed and fed and rocked them to sleep and played and sang and was good to them. 

When your house does everything for you, it is infantilizing you.  Even this description seems to make the Hadley family seem more like babies than adults and half-grown children.  The house is babying them. 

Mrs. Hadley gets a little saddened because she feels as if the house has taken over the role she once played, as mother and caregiver.  She feels replaced and useless.  This makes her also feel less connected to her children. 

"That's just it. I feel like I don't belong here. The house is wife and mother now, and nursemaid. Can I compete with an African veldt? Can I give a bath and scrub the children as efficiently or quickly as the automatic scrub bath can? I cannot. And it isn't just me. It's you. You've been awfully nervous lately."

In fact, the Hadleys rely on the fancy nursery to keep their children entertained.  They do not feel comfortable around the nursery because they see disturbing images.  Mr. Hadley even brings in a psychologist to help him figure out what is happening to his children. 

“… Trust my hunches and my instincts. I have a nose for something bad. This is very bad. My advice to you is to have the whole damn room torn down and your children brought to me every day during the next year for treatment." 

The psychologist tells them that the room is a channel toward destructive thoughts.  It is the culmination of the technological smothering.  The children have retreated into their own minds in the nursery, and their minds are a disturbing place.

In Walk Two Moons, what stories did Sal's mother particularly enjoy?

Sal’s mother liked the myths and legends of the Native Americans, especially the creation myths that explained how things came to be. Mrs. Hiddle was proud of the Native American blood in her veins. When she named Sal “Salamanca,” she thought it was the name of an Indian tribe, but she was mistaking it for “Seneca,” a real tribe. Her own name was “Chanhassen,” which was an Indian word for “sweet maple sugar,” so everyone called her “Sugar.” She sometimes objected, saying that this was not her name. It was Chanhassen.

Sal heard her mother tell her several stories of the Indians. One she relates is of a time when the sky was so low that people kept bumping their heads on it. They got tired of this, so they pushed it up with poles. They pushed it so high that it stayed up there.

Another story is of Napi, the god who made people. He had to decide if they would live forever or if they would die. He dropped a stone in the water, stating that people would live forever if the stone floated, or they would die if it sank. It sank. Sal’s mother told Sal that, because she was so good at skipping stones on water, she would have been able to make the stone float.

What are the similar themes in the novels Angela's Ashes by Frank McCourt and Night by Elie Wiesel?

The similar themes between Angela's Ashes and Night are the growth of the young male protagonist during a difficult situation to the point at which the protagonist is more powerful than his parents. In addition, the protagonists of both novels suffer the loss of their religious faith as a result of their experiences.

Frank McCourt begins his memoir with the phrase, "I wondered how I survived at all" (page 11). After his sister, Margaret, dies as an infant, his mother, Angela, is shaken and nearly catatonic from depression. As McCourt writes, "she has the wild look" (page 36), and she can hardly eat or speak. After the family returns to Ireland, they are desperately poor, and McCourt's younger twin brothers die. Angela is crushed by the tribulations she faces, and she largely resorts to relying on charity from the Catholic church and from public assistance, while McCourt's father, Malachy, leaves the family and spends his time and wages drinking. As a result, McCourt has to go to work at age 14 as a messenger boy. His father is largely absent, and his mother is what he describes as "a pious defeated mother moaning by the fire" (page 11). McCourt is on his own, and he must rely on himself. He assumes the responsibility of an adult, as his parents cannot provide for him.

In the process of maturation, he also becomes somewhat disenchanted with Catholicism, which he feels mainly instills feelings of guilt in him. The priests at his church refuse, for example, to give him confession on the day before his 16th birthday because he is drunk, and he is disgusted because he feels the church will not help the poor. He wants to become an altar boy, but the church turns him down because he is too poor. In the end, McCourt feels disappointed by his parents and by the church.

Like McCourt, Eliezer Wiesel, the narrator of Night, has to become his parents' caretaker. After the Nazis move into Hungary in 1944, Wiesel and his family are first sent to a ghetto and then to Auschwitz, a concentration camp. While Wiesel's mothers and sisters are sent to the gas chamber, he and his father, Chlomo, are sent to the labor camp. From that time on, until his father dies shortly before the camp is liberated, Wiesel becomes the parent. His father, weakened and depressed, becomes the child who Wiesel must look after. Wiesel becomes so tired of caring for his father that he even refers to him as "dead weight" (page 111) and does not cry when his father dies, as he's cried too much and is secretly glad to be free of the burden of caring for his father. 

Similar to McCourt, Wiesel, once a religious person, becomes disenchanted with religion. When he sees a child being hanged in the camps, a man behind him asks where God is. Wiesel thinks, "And from within me, I heard a voice answer: "Where He is? This is where--hanging here from this gallows..." Like McCourt, Wiesel's faith in his elders and in religion are crushed by his suffering. He finds religion of no avail, and, in the end, he is faithless. 

In Shakespeare's A Midsummer Night's Dream, what are some quotes that describe the "woods near Athens" or the forest?

In the first act of Shakespeare's A Midsummer Night's Dream, Hermia gives a brief description of the forest in order to tell Helena where she and Lysander will meet on the night they elope. She says the following:

"And in the wood, where often you and I

Upon faith primrose beds were wont to lie,

Emptying our bosoms of their counsel sweet.

There my Lysander and myself shall meet" (I.i.217-220).

Hermia's description of the forest includes the primrose beds that she and Helena used to lie upon. Helena soon gets the idea to tell Demetrius of the lovers' plan. She hopes that he will go to the forest to look for Hermia and Lysander, and this will give her a chance to follow close on his heels. 

Sure enough, Helena chases Demetrius through the woods, but he isn't impressed. He threatens Helena with the following:

"I'll run from thee and hide me in the brakes,

And leave thee to the mercy of wild beasts" (II.i.231-232).

With what Demetrius says to Helena in the above passage, the audience learns that there are many thickets in the woods in which Demetrius could hide, as well as wild animals that could attack anyone.

Oberon, the king of the fairies, also describes the place where Titania is sleeping in the forest when he speaks with Puck as follows:

"I know a bank where the wild thyme blows,

Where oxlips and the nodding violet grows,

Quite over-canopi'd with luscious woodbine,

With sweet musk-roses and with eglantine.

There sleeps Titania sometime of the night,

Lull'd in these flowers with dances and delight" (II.i.254-259).

Oberon includes a list of different types of flowers in his account of the woods. Therefore, from these three descriptions of the forest, the audience can picture what plant and animal life there is in the woods near Athens. 

How can I analyze a quote from The Crucible effectively and in a discerning manner while also analyzing the aesthetic features that show key...

In order to analyze a quote effectively, it helps to know what point you are trying to make. Then, you would explain what the quote means, as well as how it supports whatever your claim is. The quote you provided is lengthy, so you might begin by paraphrasing its most important aspects: Abigail threatens the other girls, implying she has seen violent murders committed and has no problem viciously murdering the girls if they tell on her. 

After explaining the most important parts of the quotation, you would then need to connect it, via your own explanation, to your topic sentence or thesis statement. For example, if you were to argue Abigail is to blame for the witch trials, you might analyze this quote by saying it proves Abigail actively hides facts from authorities and refuses to take responsibility for her own actions, actions that may have made Betty and Ruth very ill and could jeopardize her uncle's position. Abigail's willingness to resort to violence against her "friends" proves her capable of committing violence against people she doesn't value. You might say this quote proves Abigail understands she has done things that would be considered wrong by her community and that this makes it seem as though she will continue to do wrong things whenever it suits her.

In terms of the quote's "aesthetics," Abigail begins by using very short, quick, sentences: "Now look you. All of you. We danced. And Tituba conjured Ruth Putnam’s dead sisters. And that is all. And mark this." This variation in syntax — normal sentence structure — shows she is quite serious, even threatening. If you read those lines aloud and really pause at each period, you can hear just how measured and frightening Abigail sounds. The next two sentences are quite long:

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

All of the "ands" seem to compound the terrible things that Abigail has seen and that she is willing to do to keep the girls quiet, including, "and I will come to you," "and I will bring a pointy reckoning," "and I have seen some reddish work," and "and I can make you wish." After her first several clipped, quiet, measured sentences, her sentences get longer and more threatening. This is one way in which you might analyze her sentence structure; it seems to show how comfortable Abigail is with manipulation, how strongly she feels about getting what she wants, and how far she will go to get what she wants.