What are three quotes in the book To Kill a Mockingbird that talk about Scout?

The first quote about Scout that I notice comes from Jem
near the beginning of the story when they meet Dill. Jem says, "Scout yonder's been
readin' ever since she was born, and she ain't even started to school
yet."

One of my favorite passages about Scout is found
early in Chapter 2. (Page 17 in the Warner Books paperback)  Scout is in the first grade
on the first day of school. The new teacher, Miss Caroline has printed the alphabet on
the board. she calls on Scout to read it. Scout read it. Then ". . . after making me
read most of My First Grade Reader and the stock market quotes from
The Mobile Register aloud, she discovered that I was literate and
looked at me with more than faint distaste."

Another great
word picture of Scout appears in Chapter 9 (p. 84) as she defends her father's honor
against some racist remarks by Francis.   "This time I split my knuckle to the bone on
his front teeth. My left impaired, I sailed in with my right, but not for
long."

These quotes reveal the character Scout to be
precocious, unintimidated, and fierce. From the rest of the narration I get the
impression that Scout is intelligent, observant, principled, loyal, and a
tomboy.

What can Connie symbolize in "Where Are You Going, Where Have You Been?"Joyce Carol Oates's "Where Are You Going, Where Have You Been?"

Inspired to write her short story "Where Are You Going?
Where Have You Been?" after reading an account in Life magazine of
a strangely influential young man who lured and then killed several girls in Tucson,
Arizona, in the early 1960s, Joyce Carol Oates's character of Connie represents the
naive, superficial, and self-centered pretty teen-aged girl with Romantic illusions,
caught between childhood and adulthood.  (Some critics even go so far as to say that she
represents Eve, or spiritually unenlightened humanity.)  As the selfish, naive, and
pretty teen, Connie is a fusion of the materialistic and symbolic world in her
duality:

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Everything about her had two sides to it, one for
home and one for anywhere that was not home:  her walk that could be childlike and
bobbing or languid enough to make anyone think she was hearing music in her
head....

Unconcerned about
the other members of her family, Connie is consumed with her "trashy daydreams"; when
she is with her friends, she talks in an exaggerated manner, high and
breathless,

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which made everything she said sound a little
forced whether it was sincere or
not.

But, the boys who pay
attention to Connie, whom she enjoys ignoring, fade from a face to "an idea." Her
complacency in her beauty leads the naive Connie to lose touch with reality because
"[S]he knew she was pretty and that was everything." In her delight with the
materialistic world in which beauty is so highly valued, Connie also creates a symbolic
world in which music "made everything so good."  It is this symbolic world that Arnold
Friend, himself a preternatural character, invades.  And, he invades it because in her
duality, Connie has allowed illusion in the form of music to enter and make her
susceptible to evil.

As seen in Mary Shelley's Frankenstein, what is the theme of the quote below, referring to Robert Walton and his exploration? "You cannot contest...

The following quote is found in Letter One of Mary
Shelley's Frankenstein.

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"You cannot contest the inestimable benefit which
I shall confer on all mankind, to the last generation, by discovering a passage near the
pole."

In the opening to the
novel and letter to his sister (Margaret Saville), Robert Walton details the necessity
he feels regarding his exploration of the North Pole. A dream of his since he was a
child, Walton states that nothing will ever keep him from the "preferred glory to every
enticement that wealth placed in my path." The quote, while letting readers in on his
plans, prove to be far more important than the description of his quest for greatness.
In fact, this quote speaks to Walton's own quest for forbidden knowledge (a theme from
the novel).

This theme, the search for forbidden
knowledge, does not only resonate through Walton. Actually, it becomes far more apparent
in the protagonist of the novel, Victor Frankenstein. Given that Victor's own quest for
forbidden knowledge leads him to his own death, his knowledge regarding these types of
quests proves important for Walton as well.

Like the old
mariner in Coleridge's "The Rime of the Ancient Mariner," Victor parallels the mariner
and Walton the wedding guest. Victor is charged with the teling of his story (exactly
like the marnier is charged with the telling of his story) in order to enlighten and
warn others. Victor recognizes Walton's own ambition and warns him about taking ambition
too far.

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"Seek happiness in tranquillity and
avoid ambition, even if it be only the apparently innocent one of distinguishing
yourself in science and discoveries. Yet why do I say this? I have myself been blasted
in these hopes, yet another may succeed." Chapter
24

Here, one sees the
parallel between Walton and Victor. Both are (were) willing to pursue their endeavors at
the cost of their own lives. Fortunately for Walton, Victor's own past will serve as a
reminder as to the price of overly ambitious quests. In the end, the quote ties Walton
to Victor, reminding readers about the true cost of some knowledge.

Write an equation in point slope form for the line through the point ( 4; -6 ) with the slope m=3/5.

We want a line such that it has the point ( 4; -6 ) with
the slope m=3/5.

The point slope formula
is:

y - y1 = m(x - x1) where (x1,y1) is a point on the
line, and m is the slope. 

Since we have all these values,
we can plug into the formula and get an answer. 

y + 6 =
.6(x - 4)

What is th comparison of the roly-poly and the mockingbird in To Kill a Mockingbird?

This occurs in chapter 25 when Scout and Jem are out on
the porch to spend the night. Scout begins to narrate about Jem's chastisement of her
getting ready to smash a roly-poly:

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He was certainly never cruel to animals, but I
had never known his charity to embrace the insect
world.

'Why couldn't I mash him?' I
asked.

'Because they don't bother
you,' Jem answered in the
darkness.

Jem makes the same
comment about a simple insect that Atticus made much earlier regarding mockingbirds.
Mockingbirds don't do anything to harm anybody. This comparison between the two innocent
creatures is important at this juncture because the story is transitioning from the
innocent Tom Robinson being killed to the re-introduction of another innocent character:
Boo Radley. Fortunately for Boo, although the town would like to criticize and hurt him,
Scout remembers her lessons and treats him without harm.

Why does language change? Give minimum five reasons.

Language changes because of people's exposure to other
languages. English, for example, has added words from all over the world.  This goes
back to the various conquering of the British Isles, by the Scandinavians, by the
Romans, and by the Normans.  And we have been adding words from other languages ever
since.

Languages change because people move. When they do
so, they experience new experiences, see new flora and fauna, and the longer they are
away from their original people, the more the language tends to
change.

Language changes because of science and technology.
We need new words to describe the things we discover and invent.  Hebrew is a good
example, an ancient language used only for religious ritual until the founding of the
state of Israel.  There were no coffeemakers or computers in the
Bible.

Language changes because of youth.  Young people
want to express themselves in their own "language," a way of being separate from the
older generation, which is what much slang is for.  Eventually, some of this slang
enters the mainstream language, at which point our youth have to invent new
slang.

Language changes because of politics.  The terms
used in the political arena frame issues in ways that are meant to poison the well.  New
terms and expressions arise, some quite interesting, some quite distasteful, but we have
gone from "atom bombs" to weapons of mass destruction.  Orwell commented on this in a
rather famous essay in 1946.  I have included a link to the essay
below.

There are other reasons, some having to do with
"drift" in consonants and our general tendency to laziness, always looking for an easier
and faster way to say something.  Sometimes new words are simply erroneously heard, for
example the word "nickname," which experts have theorized comes from the term "an eke
name," a combination of words which kind of slid together over time.  Sometimes words
change completely in meaning, such as the word "awful," which used to mean "full of
awe."  This is likely to have happened because something terrible can fill one with
awe.  There are other reasons, which have filled books, but I hope this is a good
start.

I read the book, but I need to define the theme and a central metaphor in Black Boy.

The main theme of Black Boy is
growing up in an hostile environment and eventually escaping it. The protagonist,
Richard, the black boy of the title who narrates in the first person the
autobiographical story, has to fight not only against the Jim Crow, segregated and
racist society of the South, but also against his own race. Richard finds that members
of his family are bigoted and hinder his own intellectual development. This has been
interpreted, along with some passages of the book, as a negative judgement on African
American culture as a whole and critics such as Henry Louis Gates have disapproved of
Richard as an individual who wants to emerge at the expense of the community. To these
critics, Richard cannot be a representative of his own race, he is the exception, not
the rule.

A central metaphor of the work is hunger. The
second part of the autobiography, published posthumously is tellingly called American
Hunger and recent editions bear both titles Black Boy/American
Hunger. To Wright, hunger becomes a concrete part of his existence. It is
both literal (lack of food) but also moral/ethical (hunger for justice and knoledge). To
escape his dire conditions, Richard fantasizes through books and language (see the long
narrative lists that are intervowen into the narrative).

Please give the role, physical description, and characteristics of the following: Lucie and Dr. Manette, Mr. Lorry, Miss Pross, John Barsad,...

Lucie Manette
- A stereotypical Victorian heroine, Lucie
represents "the golden thread" that connects to her father, her husband, her friends,
and her children.  She is blond and delicate, subject to fainting spells.  Lucie is
seventeen when she first sees her father.

Dr.
Manette - Imprisoned for eighteen years in the Bastille, Manette is a
broken man with white hair when he is released.  But, he recovers and becomes friends
with Mr. Lorry, his double. He permits Darnay to marry Lucie, prohibiting him from
revealing his true identity until the day of the marriage. Ironically, he saves Charles
Darnay from prison, when it was his father and uncle who were responsible for his having
been incarcerated.  But, he cannot get Charles released once the Defarges condemn
him.

Mr. Lorry - a gentleman
in his sixties who is the representative of Tellson's Bank.  Mr. Lorry is the liason
between London and Paris and, as such he takes Lucie to meet her father, and he helps
Dr. Manette recover from his horrible ordeal.  He is a neat man of business, but he is
always near whenever the Manette's need
him.

Miss Pross - is a gruff,
mannish woman with red hair. She is fiercely loyal and protective of Lucie Manette,
having been her nurse when Lucie was a child.  Miss Pross is instrumental in Darnay's
escape from Paris as she kills Madame Defarge when she comes to kill Lucie.  As a
spinster, she is the counterpart to the old bachelor, Mr.
Lorry.

John Barsad - is also
Solomon Pross, the brother of Miss Pross.  The antithesis of his loyal sister, Barsad is
a double-spy who appears at Darnay's trial for treason in Book the Second. He appears
again at the Defarges' wine-shop, then at La Force.  It is Barsad that Sydney Carton
forces to allow him into Darnay's cell.  When Miss Pross spots him on the streets of
Paris, he denies being Solomon.

C. J.
Stryver - Mainly known for "shouldering his way" to lucrative practice,
to marriage proposals, and to bullying Sydney Carton, Stryver takes the credit for the
genius of Carton.  Nevertheless, he chides Carton, the "idlest and most unpromising of
man." But, he exploits Carton's genius and wins many cases at Old
Bailey.

Ernest Defarge - The
former manservant of Dr. Manette, Defarge owns the wine-shop where the Jacques come and
where the spy Barsad is first spotted.  After the revolution has begun, Defarge brings
Dr. Manette to a room where the other Jacques watch him.  Defarge is for the revolution,
but he is reluctant to see the aristocracy that he knows killed.  Ernest Defarge is a
dark, broad and strong man, but he is somewhat reluctant to join his wife in her
bloodthirsty plan of revenge.

Therese Defarge
- The dark and stoic wife of Defarge, she is evil personified.  As she
sits at the counters of the wine-shop, she knits the names of all the aristocrats about
whom she hears, condemning them to perdition.  When she does not find Lucy at her home,
Madame Defarge appears before Miss Pross with a gun, but Pross--"I am an
Englishwoman"--gets the best of her.  Ever the faithful servant ro Lucie, Miss Pross
kills Madame Defarge. Lucie escapes her clutches and lives to be reunited with Darnay
who has been saved by Sydney Carton.

How does ivory appear as an ironic symbol in the novel Heart of Darkness by Joseph Conrad?

In Joseph Conrad's novel, Heart of
Darkness, ivory is an ironic symbol.

Marlow is
the main character and the narrator of the story. He has been hired by the Company to go
deep into the territory that was then known as the Congo in order to retrieve Kurtz, an
agent for the organization that has not been out of the jungle for over a
year.

The Company is becoming richer and richer in this new
"empire," where they ship natural resources out of Africa back to Europe—especially
ivory which is used to make things like fans, piano keys and billiard (pool) balls.
Ivory is owned by the well-to-do, and there is a great demand for
it.

While the civilized and wealthy enjoy the presence of
ivory in their daily lives, the cost of obtaining the ivory is enormous—most especially
in terms of human life. Marlow sees terrible things on his journey. He sees blatant
destruction at the Lower Station, where men are blasting dynamite for no apparent
purpose. Machinery is discarded all over, rusting in the grass. Worst of all, the
natives are enslaved by the Company: they are shackled, starving and sorely
mistreated—they appear to Marlow like walking death. These men are treated like animals,
and the death of a native is barely noticed—all for the sake of the
ivory.

When Marlow finally arrives at the Inner Station,
and catches up with the brilliant, admired and successful Kurtz—who has collected and
shipped more ivory than all of the other agents combined—Marlow is appalled at what he
finds. Outside of Kurtz's living and working quarters are poles that Marlow first thinks
are wooden decorations.

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...its first result was to make me throw my head
back as if before a blow. Then I went carefully from post to post with my glass, and I
saw my mistake...food for thought and also for the vultures...They would have been even
more impressive, those heads on the stakes, if their faces had not been turned to the
house.

Marlow discovers that
the natives worship Kurtz like a god. There is evidence of human sacrifice, and Kurtz
himself is mad. He is also unwell, and dies not long after Marlow forcibly removes him
from the station.

Ivory is white, which is a color,
ironically, symbolic of purity. Ivory had many elegant uses and was highly prized by
those wealthy enough to own objects made of it. It is an ironic symbol because as much
as it symbolizes wealth and success, it also symbolizes "moral corruption," madness and
death. While it served to build one empire, it was also destroying the land, culture and
people of the Congo.

What aspects of Diamond's evidence in Guns,Germs,and Steel does Diamond prove or explain for lay readers?

In this book, Diamond does what I think is a very good job
of explaining all of his evidence.  That is, however, not the same thing as saying that
he proves it.

Some of Diamond's evidence is of the sort
that can easily be proved.  For example, when Diamond says that various animals like
zebras have never been domesticated, that is a claim that is quite easily proved.  Other
aspects of Diamond's evidence are well explained but are not proved because they simply
cannot be proved.  For example, it is not possible to prove that Aboriginal Australians
would ever have domesticated plants if they had had the chance.  Diamond argues that
they would have and he presents good points to support that argument.  But that is not
the same as proof.  The very nature of this sort of argument (that a group of human
beings would have acted differently in different circumstances) makes them impossible to
ever prove.

So, Diamond explains all of his evidence, but
not all of his explanations constitute proof.

Thomas Hardy wrote his poetry in: a. blank verse b. in standard forms c. with regular rhythm and rhyme d. Petrarchan sonnet?British...

A blank verse poem is a poem written in iambic pentameter
and does not rhyme. An iamb is a group of words, or one word, which consists of one
unstressed and one stressed foot. Pentameter simply means five. Therefore, an iambic
pentameter is five sets of stressed/unstressed words/phrases in a line of
poetry.

A standard form, in poetry, is an author's
commitment to follow any specific poetic form.

Regular
rhythm and rhyme describes an author's intent to keep the meter and rhyme of the poem
specific to the form they choose to write in.

A Petrarchan
sonnet is also known as an Italian Sonnet. The form of this sonnet is as
follows:

The poem consists of 14 lines broken into two
stanzas. The first line consists of eight lines and is called an octave.The rhyme scheme
is a,b,b,a,a,b,b,a.The second stanza consists of six lines and it is called sestet. The
rhyme scheme of this stanza can follow any of the following
patterns:

c d
c d c d
c d d c d c
c d e c d e
c d e c e d
c d
c e d c

All of Thomas Hardy's
poetry did not adhere to one specific form. One can read many of his poems and notice
that they do not follow all of the same rhymes or
meters.

For example, the poem "Beeny Cliff", the poem
consists of five stanzas which include three lines in each stanza. Each stanza has a
rhyme scheme which solidifies it to the stanza while separating it from the others. The
rhyme scheme of the poem is as follows:

a,a,a  b,b,b 
c,c,c  d,d,d  e,e,e

This poem is a simple poem which
contains alternating rhyme and is written in triplets- three lines which
rhyme.

Another poem, "The Man He Killed", also contains
five stanzas, but uses four lines in each stanza. The rhyme scheme is that of a,b,a,b 
c,d,c,d. This makes the poem an alternating quatrain- four lines of alternating
rhyme.

What emotive words were used by Atticus in his court room speech in To Kill a Mockingbird and why does he use them?

Atticus understands the racial bias that exists among the
white jurors in the Tom Robinson trial, so he appeals to their emotions in the hope that
they will take a giant leap forward and free the innocent man. Atticus refers to the
evil within each man, as well as immorality and desire. Atticus understands that the
jurors are basically decent human beings who are fighting their own consciences with the
decision they must make. He appeals to them to do their duty, and refers to God in the
hope that they will honor their religious code of
conduct.

Atticus repeats many of his themes in the hope
that they will sink in to the hearts and minds of the jury. He reminds them of the
racial differences between Tom and Mayella, and asks them to look past their skin color
in making the decision. Atticus uses words such as "tempt" and "pity" in order to appeal
to the jury's inner emotions and to their Christian character. He talks of equality and
integrity to appeal to their own sense of personal justice. By making Tom appear to be
the victim, he plays on their sympathy in the hope that they will display a sense of
charity in their final decision. Atticus reminds the jury that their education is
important and to use it wisely when they conclude the trial. 

How can I create a crossword puzzle based on, “The Masque of the Red Death"? My lists should include 7 down and 7 across.Down: Poe/ Author of...

I think that you have a couple of issues to decide upon
first.  I think that the first element that has to be decided is whether or not the
crossword can be computer generated.  If it can be, there are many free sites online
that can generate the actual crossword puzzle for you once you enter the words and
hints.  These are wonderful resources to examine.  Many of these sites will generate the
puzzle for free, which is an added benefit.  If you have to generate it by hand, this
will take a bit more time, but still can be done.  Grid paper will help or creating it
by hand with ruler and specifict grid creation would be the first
step.

The next step will be deriving the hints and words
used.  Finding what words to use might be dependent on task requirements.  If you are
required to use specifc words, this should be included.  You can use the elements of
literature, such as characters, plot, setting.  These ideas can be included to generate
a really strong list, one that is representative of much of the story.  At the same
time, you should probably ensure that your words featured share similar letters, so that
the crossword can emerge.  I think that mapping these items out will be helpful for
you.

Please explain the theme of women and children in Richard III.

I am not so sure that this question is about theme, rather
it appears to be about character, and the presentation of women and children in this
excellent play.

Clearly, the most important children in the
play are the two young princes who were so famously murdered in the Tower of London. It
is important to note how Shakespeare brings them to life and makes them very intelligent
and articulate figures. They, interestingly, are the two characters in the play who are
not fooled by Richard's character and see through his deceit. They are also very brave
and valiant in how they defy him and they likewise show that they can more than triumph
over Richard when it comes to puns, which is something that Richard uses to show his
dominance over other characters. There only weakness is their age, which renders them
intensely vulnerable to their uncle's stratagems. As such, their death appears to be
inevitable, though Shakespeare maanges to breathe life into these brothers to such an
extent that we are left with the impression that they would have been excellent kings.
To this end, it is correct to say that they are used as foils for
Richard.

Regarding women, you might want to consider the
role of a character like Margaret, who, although possessing only a minor role, seems to
be a very interesting character to focus on when we consider the presentation of women.
She is most famous for her itinerant wanderings around the castle and her curses, but
she clearly represents a kind of all-consuming yet powerless rage that she holds for
Richard and his family. This rage seems to symbolise the anger of all of Richard's
victims against his nefarious deeds. You might want to re-examine her curses that she
utters to Richard and his family in Act I, which foreshadow the rest of the play.
Likewise her character also seems to symbolise the fate of women in a patriarchal power
system. As a widow, she is left in the extremely uncomfortable position of having to
raise her begging cap to her family's murderers to survive, which is of course something
that tortures her. She is a flat character in many ways, but she is nonetheless used to
centre the rage and desire for revenge on Richard himself.

Explain the meaning of the following quote: "One does not discover new lands without consenting to lose sight of the shore for a very long time."

The idea of discovery is one that is rooted in seeking out
something new.  Think of those who set sail during the Age of Exploration to find new
lands.  They did so with a sense of excitement, enthusiasm, and hope.  However, at the
same time, they understood that there was anxiety present, as well as fear.  Simply put,
they had no idea where they were going and where they were headed.  The only reality
they knew is that where they were going was a risk, one that would mean that they would
not see their homes for a while, if ever again.  However, in pursuit of their dreams,
they made this call.

In this setting, the quote helps to
bring out how risk is inherent in any new adventure.  The idea of undertaking new risks
and challenges carries with it the foray into new and virginal territory.  The comfort
zone of the Status Quo is absent in such a conception.  For those who wish to undertake
risks and endeavors that might help to define one's place in the world, there is an
understanding that doubt and insecurity, the inability to look back to the "shore," is
going to be a part of this.  One has to accept this risk in order to take that chance
that proves to be alluring and appealing.

In To Kill a Mockingbird, what does the reader learn in chapter 3 about the Ewells?

It is in this chapter that Atticus tells Jem and Scout
(and us) about the background of the Ewells and why Burris Ewell is able to get away
with playing truant whilst Scout is unable to do so. Note that Atticus tells that they
have been a "disgrace to Maycomb for three generations," which is how they are allowed
to get away with things that other people are not allowed to get away
with:

Atticus
said that the Ewells had been the disgrace of Maycomb for three generations. None of
them had done an honest day's work in his recollection... They were people, but they
lived like animals...

He said that the Ewells were members
of an exclusive society made up of Ewells. In certain circumstances the common folk
judiciously allowed them certain privileges by the simple method of becoming blind to
some of the Ewells' activities. They didn't have to go to school, for one thing. Another
thing, Mr. Bob. Ewell, Burris's father, was permitted to hunt and trap out of
season.

The reason for this
difference in treatment is that Mr. Ewell spends his relief checks on alcohol and his
children are often left to cry in their hunger. That is why people turn a blind eye to
Mr. Ewell's illegal activities, even when they infringe the law. Giving him a chance to
feed his family is more important than upholding a law in this case. Thus this chapter
reveals very important information regarding this family, the way they are treated by
the residents of Maycomb and also the desperate position that they find themselves
in.

Why does Edwin Arlington Robinson, in his poem "Richard Cory, use the phrase "sole to crown" instead of "head to toe" and the phrase "imperially...

In his famous poem “Richard Cory,” Edwin Arlington
Robinson uses careful phrasing in highly effective
ways.

For example, rather than calling Cory “a gentleman
from head to toe,” Robinson instead calls him “a gentleman from sole to crown” (3). If
Robinson had written “head to toe,” the phrasing of the poem would have seemed hackneyed
and literally pedestrian.  There would have been nothing special about it; Robinson
would have been guilty of using a cliché. Such a flaw would have been especially
blameworthy in a poem about a man who seems so unusual and uncommon.  Cory is considered
a kind of aristocrat in the town in which he lives; he seems to live a loftier, happier,
more exalted life than those of most of the other townspeople. He is regarded almost as
a kind of royal figure, and so the word “crown” seems especially fitting (and also
foreshadows the word “glittered” in line 8).  Likewise, the word “toe” would have seemed
not only clichéd but also somewhat crude.  A “toe” is not, after all, an especially
distinguished part of the human body, whereas “sole” at least refers to Cory’s (probably
expensive and attractive) shoes. To walk around with one’s toes exposed implies extreme
informality, and Cory is anything but informal.

In the same
way, and for many of the same reasons, Robinson uses the phrase “imperially slim” (4)
rather than “very thin.”  The word “very” is, well, “very” common and undistinguished. 
It is perhaps the most over-used intensifying word in the English language.  To have
used the word “very” would have implied a lack of imagination on Robinson’s part,
whereas “imperially” is not only highly unusual and attention-grabbing but is also
perfectly appropriate to the other imagery in this poem that associates Cory with a kind
of small-town aristocracy.  Such imagery includes not only the reference to a “crown”
already discussed but also the subsequent use of “king”
(9).

Finally, “slim” is a better word than “thin” because
“thin” might have suggested that Cory (like other people in the town) was
undernourished.  It might have suggested that he was unattractively skinny, when in fact
he is anything but unattractive.  The word “slim,” on the other hand, suggests a man who
is young, healthy, physically fit, and (most important) in control of his life. For all
these reasons, the word “slim” helps make Cory’s death by suicide at the end of the poem
seem all the more shocking and ironic, not only to the townspeople but also to
Robinson’s readers. Cory, apparently, was not very much in control of his life after
all.  He may have been physically fit, but apparently he was troubled by mental demons
of which the townspeople were completely unaware, for

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. . . Richard Cory, one calm summer
night,

Went home and put a bullet through his head.
(15-16)

In 1984, what makes Winston finally feel tenderness toward Julia?This is a question on chapter four of book two.

Julia tells Winston that their next meeting is going to
have to wait. She happened to be experiencing her time of the month. At first Winston
gets entirely upset at her, but then,

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...just at this moment the crowd pressed them
together and their hands accidentally met. She gave the tips of his fingers a quick
squeeze that seemed to invite not desire but
affection.

Prior
to this moment, their joining together had been about pure sex. Now, Winston is
realizing that he actually longed for something more than just a physical experience. He
wanted the long-term relationship, the companionship, and the developing of a household
together with a woman. These aspects of human nature were so foreign to him that he did
not realize he had the capacity to feel this way. That simple touch of affection among
all of the other people made Winston feel this intense tenderness to
Julia.

What is the solution of the equation 2^(1+x)-2^(3-x)=15 ?

We'll re-write the terms of the equation, knowing that the
exponents are added when we multiply two powers that share the same base and the
exponents are subtracted when we divide two powers that have matching
bases:

2*`2^(x)` - `2^(3)` *`2^(-x)` =
15

We'll use the negative power
property:

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

We'll re-write the
equation:

2*`2^(x)` - 8/`2^(x)` =
15

We'll multiply both sides by `2^(x)`
:

2*`2^(2x)` - 8 - 15*`2^(x)` =
0

We'll replace `2^(x)` by
t:

`t^(2)` - 15t - 8 =
0

We'll apply quadratic
formula:

`t_(1,2)` = (15`+-` `sqrt(225 + 32)`
)/2

`t_(1,2)` = (15`+-` `sqrt(257)`
)/2

t1 = 15.51

t2 =
-0.51

But `2^(x)` = t => `2^(x)` = 15.51 =>
x*ln 2 = ln 15.51

x = ln 15.51/ln
2

x = 2.74/0.69

x =
3.97

`2^(x)` = -0.51 impossible because `2^(x)` > 0
for any real value of x.

Therefore, the
solution of the equation is x = 3.97.

Examine Blake's twin poems The Tyger and The Lamb as "two aspects of God and two states of man."

Blake's poem "The Lamb" suggests that the act of wondering
about God and one's origins ("little lamb, who made thee? dost thou know who made
thee?") is a pursuit best left to intellectuals (the poem's narrator says "little lamb,
I'll tell thee; He is called by thy name, for He calls himself a lamb") or to the
cynical and worldly thinkers of the world. The naming of God as a "lamb" also hints that
this poem is about Jesus in his younger aspect. The image of the lamb is childlike and
pastoral, steeped in natural imagery ("gave thee life and bid thee feed, by the streams
and o'er the mead."). The innocence of this poem's imagery and approach to God suggests
that many people approach the subject of God's existence in an innocent and childlike,
perhaps naive, manner.

This approach is a stark contrast to
"The Tyger" which portrays a creature of strength and cunning ("what immortal hand or
eye framed thy fearful symmetry?"), placing the questioner on a more mature and
sophisticated level than the one portrayed in 'The Lamb." The God represented in this
poem is not Jesus Jesus but Jehovah, a more knowing and ruthless god than the innocent
lamb-like one.

Show that sin(pi/2-x)=cosx?

We'll have to apply the following identity to prove the
given expression:

sin(a-b) = sin a*cos b - sin b*cos
a

Let a = `pi` /2 and b =
x

sin (`pi` /2 - x) = sin `pi` /2*cos x - sin x* cos `pi`
/2

But sin `pi` /2 = 1 and cos `pi` /2 =
0

sin (`pi` /2 - x) = 1*cos x - sin
x*0

sin (`pi` /2 - x) = cos
x

Therefore, the given expression sin (`pi`
/2 - x) = cos x represents an identity.

How does Shakespeare introduce us to the witches in Macbeth?Act 1 Scene 1 - Macbeth

The witches appear in a nameless "desert place" with
thunder and lightning all around. It is meant to be immediately ominous and dangerous.
It is implied that they are in some other-worldly place, meeting to prepare for their
interference with Macbeth. It seems they do not meet in their "coven" very often,
because the 3rd witch is surprised that they will meet a gain so soon. They are also
summoned away by their animal partners (Graymalkin and Paddock) which implies their
supernatural ability to communicate with animals.

James I
of England was fascinated by witches and the trouble they cause. That coupled with his
genealogy as a descendant of Banquo were of primary importance to Shakespeare, who wrote
this story for the king.

What is a narrative transition? Does it have anything to do with specific to general, general to specific , or time shift?

While you have a specific title named in your tags,
Ballad of the Sad Cafe, your question is one that can be answered
by explaining the term narrative transition.

A narrative is
how a story is told and from what perspective. There are many different perspectives a
story can be told from.

First-person is when the narrator
tells their own story. What this offers the reader is the perspective of the person with
whom the story took place in their own life. The first-person narrator offers their own
interpretation of the action, personal feelings regarding other characters, and their
own inner thoughts to allow the reader to come to understand the narrator more
fully.

Third-person is a narration which takes place when
the narrator is not a character in the story. The narrator is simply an observer who
details the action of the story for the reader. There are multiple different types of
third-person narrators. The two most commonly used are the Omniscient and the
Limited.

An Omniscient narrator knows everything about all
characters in the story. This narrator offers the most insight into the lives and
characters of each and every person in the text.

The
Limited narrator offers a complete characterization of the main character, but only
fragments of characterizations of the other characters.

A
transition is a shift or change. In regard to a narrative transition, what happens is
the method of narration changes during the story. One classic example is the narrative
transition which happens in Shelley's novel
Frankenstein.

The novel shifts from
many different perspectives throughout the action of the novel. At one point, the story
is told from the first-person perspective of Robert Walton. Once the story actually
begins, it changes to another first-person narration as provided by Victor Frankenstein.
Later in the novel, Victor's creation takes the narrative reigns. After, transferring
back to Victor, the novel ends with the voice it began with, the voice of
Walton.

A narrative transition is simply the change of the
viewpoint from which a story is being told.