What two items were exchanged before Montag left the professor's house in Fahrenheit 451?

After his reunion with Professor Faber, Montag receives a
gift of sorts from him in the form of a "Seashell", a tiny device that he can
communicate with the Professor through.  Using it, he can hear the Professor coach him
through his actions, and Faber can hear Montag when he speaks.  It is supposed to help
them start a revolution in thinking, but things don't quite go as
planned.

The other item is a gift from Montag to Faber in
the form of a Bible.  Montag had rescued it from a house he had been sent to burn, and
since it wasn't even known if there were any bibles left in existence, Faber receives it
as a treasured gift, and vows to preserve it in the heads of other professors who commit
entire books to memory.

1.) x2+y2=45,xy=18,then 1/x+1/y=? 2.)when a square is constructed on 3 sides of a triangle ,their sides are in the ratio 1:3:4,THE WAT triangle is...

We'll solve just the 1st problem since you have to ask
only one question.

To determine the sum of the fractions
we'll have to determine the least comon denominator, which is
xy.

1/x + 1/y = (y+x)/xy

We
already know the value of xy, which is 18. We'll calculate the value of x +
y.

For this reason, we'll have to create a perfect square
to the left side:

(x^2 + y^2 + 2xy) - 2xy =
45

(x+y)^2 = 45 + 2xy

x + y
=`+-` `sqrt(45+2*18)`

x + y =`+-`
`sqrt(81)`

x+  y = `+-` 9

Now,
we'll calculate the requested sum:

1/x + 1/y =
(y+x)/xy

Let x+y=9 => (y+x)/xy = 9/18 =
1/2

Let x+y=-9 => (y+x)/xy = -9/18 =
-1/2

The requested values of the sum 1/x +
1/y are {-1/2 ; 1/2}.

What does the stopping distance of a moving body depend on?

A body that is moving either at a constant speed or
otherwise can be brought to a stop by applying a force that accelerates the body in the
opposite direction of its present motion.

The acceleration
brings the body to a stop in a distance that can be calculated by the use of the
following formula: v^2 - u^2 = 2*a*s, where u is the initial velocity, a is the
acceleration of the body and s is the distance. As the body has to be brought to a stop,
v = 0. This gives the magnitude of displacement or distance as s =
u^2/2*a.

The stopping distance therefore depends on the
initial velocity of the body and its acceleration due to a force in the opposite
direction.

How does Dickens create suspense and foreshadowing in chapter 32 of Great Expectations?It's the chapter where Wemmick takes Pip to visit the prison...

Dickens gives us (and Pip for that matter) great hope in a
relationship between Pip and Estella. Pip receives a letter that says Estella is coming
to town and he is to meet her. This makes readers believe that for all this time while
we have watched Estella mock and abuse Pip, there just may be that glimmer of hope for
him with her. Now, it feels to the reader like a relationship for them is not only
possible but probable. While readers get anxious right along with Pip,
Dickens drives the story away from
Estella.

Wemmick comes along and takes Pip
to Newgate Prison. A prison is an ironic place to go considering what Estella's
treatment to Pip over the years has done. This negative experience might make readers
wonder, is this meeting between Pip and Estella going to be any different, or is Pip yet
again bound to the life from which he began. The prison experience is also a connection
to who he finds out is his benefactor as well as to what we learn about his connection
to a convict in the very beginning.

Finally, the chapter
ends with an ominous question:

readability="5">

What was the nameless shadow
which again in that one instant had
passed?

A shadow could be so
many things. It could refer to the past or the future. It could refer to a bad
experience. It is unnamed, so once again we are guessing. But, it is a clue and you will
be able to put it all together in the end!

Explain following line in Pope's "The Rape of the Lock". "This to disclose is all thy Gurdian can"Answer will be divided into three parts 1.Where...

The following line appears in Canto One of Pope's poem
"The Rape of the Lock":

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This to disclose is all thy Guardian
can.

The line is 113 and lies
as the second to last line in stanza 10. Canto One is the first canto of five from the
poem.

In Canto One, Pope introduces the Beautiful Belinda.
The Sun (a muse in the poem) has been evoked so as to provide the beginning of the day
(which the sun historically symbolizes). The people of the household, therefore, are
described as going about their typical morning
routine.

Readers learn of Belinda and her realtionship with
the Sylphs- they are her protectors- through a description of her dreams. Her main
protector, Ariel, tells her in her dream that the day will bring about "some dread
Event". After awaking from her dream, and the warning, Belinda proceeds to ready herself
for the day.

The line in question comes during Ariel's
warning to Belinda in her dream. After introducing himself as her protector, Ariel
states the following:

readability="11">

E're to the Main this Morning Sun
descend.
But Heav'n reveals not what, or how, or where:
Warn'd by
thy Sylph, oh Pious Maid beware!
This to disclose is all
thy Guardian can.
Beware of all, but most beware of
Man!

Therefore, the line's
meaning falls in the fact that Ariel is warning Belinda about his knowledge that
something bad is going to happen. Although he does not know exactly what, "But Heav'n
reveals not what, or how, or where", Ariel knows that he must tell her everything that
he does know so as to warn her, "This to disclose is all thy Guardian
can."

The direct meaning of the line is Ariel telling
Belinda that, at this point, all he can do is tell her about the threat of danger- given
the threat is all he knows of.

“It was a pleasure to burn.” Why does Bradbury start Fahrenheit 451 in this way, as though it would be more pleasurable to burn books rather...

First of all, from a purely literary perspective, Ray
Bradbury chose to open the novel “Fahrenheit 451” with the words “It was a
pleasure to burn” to immediately capture the attention of the reader and draw
him or her into the story quickly. This is a short, compelling sentence that piques
one’s interest; the reader wants to know why it’s “…a pleasure to
burn” and subsequently delves into the story wholeheartedly. This is what
happened to me the first time I read this story.

Secondly,
Bradbury’s opening line causes the reader to gain a glimpse into the mindset of the
firemen, those who set fires by burning banned books and the homes that house them. This
simple sentence presents concisely and clearly how these firemen are thinking as they
wield their kerosene filled flame throwers as if they are the ultimate destructive
force. This sentence gives the reader a taste of evil actions and a peek into evil
thought processes.

The sentence is unassuming and
unadorned. However, it conveys an act of violence against a citizen that is anything but
unassuming and unadorned. This act of burning is representative of a totalitarian
government’s control of its citizens. The act of burning, conducted by the government
against its own, is a flamboyant display meant to discourage dissent from the
populace.

Ray Bradbury uses these six simple words to
reveal to the reader, right at the beginning of the novel, that the government is more
powerful and citizens oppose it at their peril. The burning of books, homes, and people
who refuse to leave their burning homes is definitely not unadorned drama. It is drama
manufactured by the government to make a point to its citizenry that it will not
tolerate books and that those who have and hide them, and then are found out, will pay
dearly.

Therefore, burning is theatre
created by the totalitarian government. The central characters on the stage are the
firemen who advance the aims of the government that pays them. The citizens desiring
books to read are the pawns in the game/story. The powers that be want to make the point
that it is a pleasure for the firemen and the totalitarian government to see that those
opposed to it are reduced to ashes. Nonetheless, the essence of the story is that there
is one firemen who has a conscience and who no longer finds it “…a pleasure to
burn.”

Images:

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function satisfies condition f(x+1/x)=x^2+1/x^2 . find function

Since the result of f(x+1/x) is a quadratic function, then
f(x) is a quadratic function, too.

If f(x) is a quadratic
function, we'll have:

f(x) = a`x^(2)` + bx +
c

We'll replace x by the sum x +
1/x

f(x + 1/x) = a`(x + 1/x)^(2)` + b(x + 1/x) +
c

We'll expand the square:

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

The function will
become:

f(x + 1/x) = a(`x^(2)` + 1/`x^(2)` + 2) + b(x +
1/x) + c

Since, from enunciation, we'll have f(x + 1/x) =
`x^(2)` + 1/`x^(2)` :

a(`x^(2)` + 1/`x^(2)` + 2) + b(x +
1/x) + c = `x^(2)` + 1/`x^(2)`

Comparing both sides, we'll
get:

a= 1

b =
0

c = -2

1*(`x^(2)` +
1/`x^(2)` + 2) + 0*(x + 1/x) - 2 = `x^(2)` +
1/`x^(2)`

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

Therefore, the requested function
f(x) is: f(x) = `x^(2)` - 2.

I would like an analysis of Emily Dickinson's poem "Again - his voice is at the door" in regards to the use of the color purple.

Many of Emily Dickinson's poems include a reference to the
color purple. A few of the poems are "There is a flower that bees prefer", "Wait Till
the Majesty of Death", and "We like March", "It will be Summer--Eventually" and "Me,
change! Me, alter!"

The use of the color purple is based
upon the meaning of the color. The color purple is known to represent good judgement,
spiritual fulfillment, and peace of mind.

In regards to the
poem "Again- his voice is at the door", the color purple appears in the following
stanza:

I'd
give—to live that hour—again—
The
purple—in my Vein—
But
He must count the
drops—himself—
My price
for every
stain!

What the
speaker is referring to, in this poem, is the wish to have blood running through her
veins again. It is apparent, through the previous movement of the poem, that the speaker
has passed on. In regards to this, she wishes that she may be able to spend time with
the one who has come to seek her out. Instead of continuing life, the speaker has come
upon Heaven. The man, whose voice is at the door, accompanies her only so far. She must
go on alone from the departure point. This is shown in the following
lines:

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Alone—if
Angels are "alone"—
First time they
try the
sky!
Alone—if those "veiled
faces"—be—
We cannot count—on
High!

Therefore, the color
purple, in the poem, represents spiritual fulfillment.

What are the similarities and differences the Salem witchcraft trials and U.S. communist trials?

The primary resemblance between the two is the irrational,
paranoid fear that each caused. The mere suggestion that one was a witch at Salem was
enough to arouse suspicions, in fact it was the accusations of a few girls who hoped to
avoid punishment for their own misdeeds that led to to the entire witch hysteria. In the
U.S., particularly during the Red Scare, anyone whose ideas were not mainstream was
subject to suspicion, and accusations alone were sufficient to condemn one. In both
instances, many innocent lives were destroyed; and in both instances the paranoia ended
with the discrediting of the accusers. In Salem. the girls who started the hysteria
later began writhing and accused a woman in Ipswich, a nearby village of being a witch.
They were ignored. Senator Joseph McCarthy, who was widely responsible for the Red
Scare, was censured by the Senate and died from alcoholism as a broken man. Finally, it
should be noted that both were considered an assault on Christianity. Those accused of
witchcraft were believed to have had "carnal relations" with the devil. Since Communism
was atheistic, those who were accused were considered
"godless."

The primary difference is that the Salem trials
were at least partially based on religious principles, even though the trials were
conducted by civil authorities. Salem was an intensely religious community; in fact the
name itself is derived from "Jerusalem." Those accused were offered pardons if they
would recant and publicly confess and renounce their misdeeds before the congregation.
Those accused of communist affiliation were persecuted in a purely political environment
and were not given any opportunity for recantation. A very small percentage of those
accused of communist affiliation may very well have truly been communists, at least
nominally; although many innocent people were implicated. No one in Salem was truly a
witch. Finally, no one was put to death simply for being a communist. (Julius and Ethyl
Rosenberg were put to death, but for espionage, not communist affiliation, although this
may have been a factor in determining their guilt.) A number of people were hanged in
Salem for no other offense than that of being a witch, and one man was crushed to death
because he refused to condemn his wife.

How does New Criticism theory differ from that of Reader Response theory, and is emasculation a part of the Reader Response theory?

New Criticism is based on the notion that a poem has an
inherent organic unity and can be read independent of context, as in I. A. Richards'
experiments in practical criticism. Meaning is made in poetry, according to new critics,
by the ways in which the linguistic texture of the poetic object interacts with the
generic functioning of the poetic medium. The poet, to a great degree, acts as a conduit
for the tradition of poetry to the present age in a process that is almost impersonal,
as T. S. Eliot pointed out in his seminal essay, "Tradition and the Individual Talent," 
that acted to a great degree as a manifesto for the New Critical movement. The intention
of the author has no bearing on the interpretation of the poem, according to Wimsatt and
Beardsley's important New Critical essay, "The Intentional Fallacy." Wimsatt and
Beardsley also criticise the "affective fallacy," which interprets poems by their effect
on the reader.

What Wimsatt and Beardsley term the
"affective fallacy" is actually the centre of reader response criticism, which centres
the meaning of the poem on the way the reader responds to it. There are several
different strands of reader response, a European one, emphasizing a cultural horizon of
expectations, pioneered by Hans-Robert Jauss and Wolfgang Iser, one involving
interpretive communities as constructed by intellectual disciplines, associated with
Stanley Fish, and a popular psychological approach emphasizing student reading
practices.

Emasculation is a topic discussed in gender
theory, a third school of literary criticism unrelated to the other
two.

Affective
fallacy link: href="http://www.rlwclarke.net/courses/lits2306/2010-2011/07CWimsattandBeardsley,TheAffectiveFallacy.pdf">http://www.rlwclarke.net/courses/lits2306/2010-2011/07CWimsattandBeardsley,TheAffectiveFallacy.pdf

In the essay "Go North, Young Man," explain the writers position by commenting upon the specific points he provides that expand on this idea.The...

I had to pare the original question.  Each of the four
questions originally asked would occupy one entire answer.  I hope you can repost them
at a later time because each of them are
compelling.

Rodriguez's essay claims many elements.  It's a
complex essay because immigration is a complex topic and he knows it.  I think that it's
important to understand that I don't think Rodriguez is capitulating into a prepared
soundbite that traditionally extols the virtues of the immigrant.  He does point to
their immense energy and how they transformed the landscape of
California:

readability="16">

Suddenly, foreign immigrants were
everywhere--Iranians were buying into Beverly Hills; the Vietnamese were moving into San
Jose; the Chinese were taking all the spaces in the biochemistry courses at UCLA. And
Mexicans, poor Mexicans, were making hotel beds, picking peaches in the Central Valley,
changing diapers, even impersonating Italian chefs at Santa Monica restaurants... But
immigrants are most disconcerting to California because they are everywhere working,
transforming the ethos of the state from leisure to labor. Los Angeles is becoming a
vast working city, on the order of Hong Kong or Mexico
City.

Consider the
implications of this particular set of quotes.  On one hand, the openness of the
California vision helped to construct a reality that was open to everyone.  Contrary to
the idea of immigration to California moving in a linear pattern from East to West, it
really became impacted from the immigration South to North, West to East, and West to
more West.  The openness of Calfornia's vision helped attract immigrants that helped to
make California vastly different from what it was originally seen.  Rodriguez makes the
point that the idea of energy of immigrants was one that helped to make California
different in both composition and mere look.  When the Greeley comment of "Go West,
Young Man" took hold in America, it was not seen to mean that everyone immerse
themselves in California and make a life for themselves there that permanently alters
how the state looks and acts.  Yet, in fact, this is what
happened.

The energy and transformation that Rodriguez
articulates comes out of a fundamental belief, though, that the immigrant is a renegade
from all and to all.  This is where he pivots in terms of the traditional immigrant
debate.  He argues that the energy that the immigrant brings to an area, in particular
California, is because they have nowhere else to go.  Immigration, he argues, offends
everyone.  It is "offensive" to the "Native" voice because of the perceived fear of
invasion, something that Rodriguez himself critiques as the openness of "California,"
and by extension, America, reveals that there is "no native voice."  The only possible
exception would be the Native American, whose voice is silenced in Rodriguez's mind. 
The immigrant "offends" their own sensibility because no one leaves their home
willingly.  For Rodriguez, the immigrant leaves their home and their village in order to
pursue another end.  Financial, escape, better life for those at home are all reasons. 
The energy they bring to this new world is a reflection of the fact that they have
nowhere else to go.  Sent out by home and by receivers, their energy is all they have,
their only release.

What are three reasons why the animals listen to Old Major in Orwell's Animal Farm?

I am sorry that I had to pare down your question.  I would
advise you to repost them so that you can get guidance for your
exam.

The animals listen to Old Major's speech for a
variety of reasons.  The most fundamental of which is that Old Major's vision is a way
for the animals to reconfigure the role they play in their world.  Old Major is very
pointed in how the animals are exploited by the humans such as Mr. Jones.  For example,
Old Major makes a pointed case that Boxer will be sent to the knacker when he is no
longer of use. Old Major's vision is one where the animals are able to make sense of
their suffering and be able to understand why they are in the position in which they are
immersed.  Another reason why the animals listen to Old Major is that he is seen as a
figure of respect.  Old Major's age and stature is one whereby he is perceived as one
who has seen a great deal of life on the farm, so that his insights are meaningful to
the animals. Another reason why the animals listen to Old Major is because he gives them
not only the cause of why they are suffering, but a solution to their problems.  His
solution is that if the animals assert control of their own lives and of their own
existence in owning the means of production on the farm, they will no longer be
enslaved.  This is a hopeful vision of the future, one in which the animals feel a
certain level of redemption out of their present predicament of suffering.  It is for
these reasons that the animals listen to Old Major in the henhouse.  He introduces the
vocabulary of revolution to the animals, the catalyst for
change.

What is the application of postcolonialism criticism to "Games at Twilight"?

Given the very wide ranging import of postcolonial
criticism, this question could be answered in a number of different ways. In one sense
postcolonialism is about celebrating voices from the formerly colonised nations and the
bringing to light of situations and issues that are relevant to such unique
environments. In this sense, Anita Desai is a famous postcolonial author, emerging as
she does from India, which was a colony of Britain for so
long.

However, we might want to extend this basic analysis
by refering to the way in which the story's theme establishes the alienation of the
individual and the way that this could be argued to present the situation of so many
postcolonial subjects who struggle to find their identity and meaning in life. The
epiphany that Ravi experiences at the end of the story, when his dreams of victory and
glory are cruelly squashed by the contempt with which he is treated by other children,
focuses on his own inner insignificance, as the final paragraph makes
clear:

He
would not follow them, he would not be included in this funereal game. He had wanted
victory and triumph--not a funeral. But he had been forgotten, left out, and he would
not join them now. The ignominy of being forgotten--how could he face it? He felt his
heart go heavy and ache inside him unbearably. He lay down full length on the damp
grass, crushing his face into it, no longer crying, silenced by a terrible sense of his
insignificance.

The irony of
this passage, and the way that Ravi has technically won the game but it was abandoned
long before he emerged, meaning that he is ignored instead of being feted for his
victory is keen and biting. Likewise, there is irony in the way that he refuses to play
the funereal game with the other children, but presides over his own death of his
innocence and hopes. Some critics would argue that this epiphany and the situation of
Ravi explicitly relates to the postcolonial subject, who finds himself cast adrift in a
sea of meaninglessless and insignificance, with the firm ground of identity provided by
colonialism swept away.

In Song of Myself, where is Whitman in regards to the reader?

I don't think that Whitman makes any qualms about where he
is in relation to the reader.  Whitman's "I" is a universal one that is borne out of his
own subjective experience.  From this, he hopes to broaden his experience to that of the
reader:

Apart
from the pulling and hauling stands what I am, . . . Both in and out of the game and
watching and wondering at
it.

This position of Whitman
standing outside of "the game" allows him to funnel his own experience to that of the
reader.  Whitman links his own experience to that of the reader.  He does not see his
position as any different as the reader, except that his job is to forge a connection to
the reader.  The universality that is such a part of Whitman's experience is one that he
brings to the reader, in the hope of a shared union between his voice and what the
reader internalizes.  I think that this is where Whitman is in relation to the reader. 
He sees himself as a part of what the reader undergoes in trying to understand this
universality, an experience where the reader and poet both submerge their own individual
and distinct reality into a universal conception of both self and
others.

Who is the protagonist in And Then There Were None??Everywhere i look gives a different answer! plz help!!

A protagonist is not always the hero of the story. He is a
central figure of a story.  It is common for the story to be ABOUT the protagonist.  In
this case.  It was about Lawrence Wargrave, who if far from being a hero.  He loves to
kill. He has always felt a "strong sense of justice" (pg 286).  In the style of "The
Tell Tale Heart", Wargrave has convinced himself that he is justified in the deaths he
has caused, although he has had a sadistic delight in causing death since he was a
child. However, he did not want the innocent to suffer.  He carefully researched each of
his victims.  Each of them was responsible for the death of another person.  He decided
to invite them all to the island because he has been told that he is dying. (pg 291) He
doesn't want to die a slow and painful death.  He wants to go out in a "blaze of
excitement.  I would live before I died" (pg 292).  The whole story is his story.  He
planned it and systematically caused the death of the other nine people. Without
Wargrave, there would be no story.

"Atticus got up and walked across the porch into the shadows and his youthful step had returned.” What caused this change in To Kill a Mockingbird?

Halloween night had been a rough one for Atticus. He was
already tired from spending a week in Montgomery, and he decided to skip the school
pageant. Then he learned of the attack on his children. Atticus was frantic, concerned
about Jem's injury and his son's possible connection with Bob Ewell's death. It was one
of the few times in the novel that Atticus wasn't thinking clearly. Even though it was
Boo who brought Jem into the house, Atticus didn't initially think that Boo was
connected with the death: Atticus thought Jem had killed Bob, and it took a bit of
convincing from Sheriff Tate before he was convinced that Boo--and not Jem--had killed
Bob. Atticus then realized that Jem may have to testify in support of Boo, giving him
even more worries. But Sheriff Tate's decision to call Bob's death self-inflicted solved
the problem. Boo and Jem were off the hook, but Atticus still didn't like going along
with Tate's way of thinking. It was Scout who eased Atticus' mind, telling him that the
sheriff had made the right decision, keeping Boo from being dragged through a public
investigation.

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"Well, it'd be sort of like shootin' a
mockingbird, wouldn't it?"

It
was only then that Atticus' "youthful step" returned. Jem would recover from his
injuries, Scout was okay with the sheriff's secret, and none of them had to worry about
Bob Ewell again.

What are some examples of treachery and loyalty in Shakesepeare's tragedy Othello? Please cite act and scene.

Loyalty and treachery are important themes in
Shakespeare’s Othello from the very opening words of the play. 
Thus, in the very first scene, Roderigo is already accusing Iago of a mild kind of
treachery (or at least disloyalty) by not informing him of Othello’s marriage to 
Desdemona (1.1.1-3).  Iago immediately responds by claiming his loyalty to Roderigo
(1.11.4-6). Iago feels that Othello has been treacherous to him by choosing Michal
Cassio as his [Othello’s] lieutenant rather than Iago himself (1.1.8-17). Iago feels
that he has been loyal to Othello (1.1.28-33) and thus feels all the more that he [Iago]
has been treated treacherously.  In turn, Iago plans to deal treacherously with
Othello:

O,
sir, content you;

I follow him to serve my turn upon him.
(1.1.41-42)

Iago plans to
pretend loyalty to Othello merely to plot revenge: “In following him, I follow but
myself” (1.1.58). Within a few lines, he is already proclaiming to Brabantio that the
latter has been treated treacherously by Othello, who has secretly married Brabantio’s
daughter, Desdemona, without her father’s consent:

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I am one, sir, that comes to tell you your
daughter and the Moor are [now] making the beast with two backs.
(1.1.115-17)

In other words,
Iago claims that not only has Othello been treacherous to Brabantio but that Brabantio’s
own daughter has been disloyal as well.

Later, in the
streets of Venice, Brabantio himself accuses Othello of
treachery:

O
thou foul thief, where hast thou stowed my daughter?

Damn’d
as thou art, thou hast enchanted her . . . .
(1.2.62-63)

Later still, in
the Ventian court, Brabantio once more charges Othello with treachery, claiming that
Desdemona has been

readability="9">

abus’d, stol’n from me, and
corrupted

By spells and medicines brought on by mountebanks
. . . . (1.3.60-61)

When
Desdemona herself appears before the court, she professes loyalty both to her father and
to her new husband; she denies that she has acted treacherously but instead proclaims
that now her greater loyalty must be to the man she has married rather than to the man
who helped conceive her (1.3.180-89). Brabantio disdainfully accepts what has happened,
but, before leaving the court, warns Othello that Desdemona may someday treat Othello as
treacherously as Brabantio feels he himself has been
treated:

Look
to her, Moor, if thou hast eyes to see;

She has deceived
her father, and may thee.
(1.3.292-93)

Othello responds
to this warning by replying simply, “My life upon her faith!” (1.3.294) – words that
imply his own loyalty toward Desdemona as well as his trust in her loyalty toward him. 
Throughout the entire first act of the play, then, loyalty and treachery are crucial
themes.

Other scenes in which these themes particularly
appear include the following: 2.1.213-312; 2.3.204-49; 3.3.155-278; 3.3.330-480;
4.1.1-212; 42.31-90; 5.1.35-73; 5.2.1-83; 5.2.126-67; and 5.2.283-87.  There are, in
fact, few scenes in the play that fail to at least touch upon the themes of treachery
and loyalty.

How did John and Lorraine become friends?

John and Lorraine first met on the bus on the way to
school.  He sat down next to her which made her at first feel uncomfortable.  He almost
immediately began laughing, so she thought he was making fun of her.  His laughter was
contagious because she started laughing too and the two of them laughed together
uncontrollably.  Though they are very different, John and Lorraine are able to remain
good friends because they can keep each other laughing and can feel comfortable being
silly around each other.  This laughter is a nice antidote to cure the pain they
respectively feel from their dysfunctional families.

What is meant by puffing the cheeks ?By Ratan

In Rabindranath Tagore's "The Postmaster", the narrator
details a line in which the Postmaster tells Ratan to leave the fire be and to come in
and light his pipe. It is in this line where the phrase "with puffed out cheeks"
appears.

The reference to "puffed out cheeks" refers to the
holding of Ratan's breath to blow onto a coal so as to keep it burning so that he can
light the Postmaster's pipe. Blowing upon a coal causes the coal to stay burning after
taken from a coal pit or fire place.

Simply, "puffed out
cheeks" refers to the pyhsical protrudence of Ratan's cheeks so that he may hold in
enough air to keep the coal lit so that it does not extinguish before he is able to
light the pipe of the Postmaster.

What are the father's main character weaknesses, not only morally or religiously, in the Wyss's The Swiss Family Robinson?

One would have to go beyond the actual words of the novel,
“The Swiss Family Robinson,” to see any weaknesses in the father, the main character of
the book. The way he is depicted by the author he is almost perfect; no, he is perfect.
He knows just about everything: what kind of plants and trees are on the island; what
kinds of animals live there; and last but not least, how to survive on the deserted
island. He is also the spiritual leader of the family, and is constantly giving sermons
while he’s giving out lessons on survival.

The main flaw in
the father is that he is too perfect.  He has no flaws that one can find in the book,
and that makes him a one-dimensional character, which you hardly ever find in a classic
novel.  “The Swiss Family Robinson” is a classic only because of the adventures that the
family has, not in the way that the author develops his characters, especially the
father.

How to cure a swollen gland under the chin?

A swollen "gland" under the jaw is most likely one of two
things. It could be an actual gland, since you have salivary glands called the
sublinguals located beneath your tongue. But more likely it's a lymph node. which your
have a number of in the neck and jaw area. Lymph nodes are nodules which help filter
body fluids, and they are filled with infection-fighting white blood cells. When a node
is active, it often swells.

The most common causes of
swollen lymph nodes are the common cold and strep throat. If you have a sore or scratchy
throat or a fever, you should probably have it checked out, as antibiotics may be in
order. In any case, if it goes on for more than a day or two, you should definitely see
a doctor.

One thing that will speed healing of swollen
lymph nodes and/or a swollen salivary gland is putting hot compresses on it. Another
home remedy that may help is sipping hot tea; this would be particularly helpful if it
is a salivary gland.

How does Katherine Mansfield investigate Laura's resistance to her class relations in "The Garden Party"?

A key theme of this excellent short story is that of
class, and the way that Laura begins the story at least by trying to ignore class and
pretending that it does not impact her. An important part of the beginning of the story
is when she watches the workmen construct the marquee and Laura comments on how nice the
workmen are and how they compare much more favourably to "the silly boys" with whom she
dances from her own class. Note what she thinks:

readability="13">

It's all the fault, she decided, as the tall
fellow drew something on the back of an envelope. something that was to be looped up or
left to hang, of these absurd class distinctions. Well, for her part, she didn't feel
them. Not a bit, not an
atom...

She even goes as far
to imagine that she is a "work-girl" as she watches the men do their work. Of course,
this feeling of companionship with the working class brings Laura into her conflict when
she feels that the garden party must be cancelled because of the death of Mr. Scott, a
working class man living very close to the garden. When she goes to her sister Jose and
then to her mother, she is met with the inescapable reality of the way that class does
matter and that it cannot be dreamed away. Consider how her mother responds to
her:

"You are
being very absurd, Laura," she said coldly. "People like that don't expect sacrifices
from us. And it's not very sympathetic to spoil everybody's enjoyment as you're doing
now."

Class is therefore a
force that initially Laura tries to resist, but in the end is forced to acknowledge and
respond to.

In Romeo and Juliet, Paris asks Capulet for Juliet's hand in marriage. Comment upon Capulet's reply.

It is interesting that in Act I scene 2, in his
conversation with Paris, Lord Capulet shows himself to be a very compassionate father.
In response to Paris's urgent desire to marry as soon as possible, Capulet shows that he
loves his daughter greatly, saying that she is too young and asking Paris to wait for
two more years. When Paris protests that women are married much younger, note how
Capulet responds:

readability="20">

And too soon marred are those so early
made.

Earth hath swallowed all my hopes but
she;

She is the hopeful lady of my
earth.

But woo her, gentle Paris, get her
heart;

My will to her consent is but a
part.

And she agreed, within her scope of
choice

Lies my consent and fair according
voice.

Capulet then clearly
points towards his love and affection of Juliet, saying that as she is his only child,
she represents all his "hopes." However, he does not want to merely parcel out Juliet to
Paris like a piece of property, and urges that Paris "woos" his daughter, and gains her
love. As long as Paris does this, he has Capulet's consent. Interestingly, this attitude
is actually very different to the kind of attitude Capulet displays in front of his
daughter later on in the play when she tries to protest against marrying Paris. Here,
however, we see a very cautious father, thinking of his daughter and risking putting off
the noble Paris to ensure his daughter is ready and also encouraging him to woo
her.

According to Guns, Germs, and Steel, in what ways did a centralized government provide strength to early societies?

To see why a centralized government is useful, look at
Diamond's description of the Fayu at the start of the chapter or look at the biography
of the Iyau woman on p. 277 in the paperback edition.  In both of those passages, we see
that societies without centralized government have a hard time providing their people
with stable lives.

As societies grow larger, they need
governments.  They can no longer be held together by family ties.  Someone needs to have
the authority to do things like preventing people from killing one another.  This is
where government comes in.  Government strengthens societies by creating ways for large
populations to live together in peace.

Of course, there are
problems that go along with having a centralized government.  However, a society without
such a government, like that of the Fayu, is one that is very unpleasant and dangerous
to live in.

How are the tone/theme of the novel filtered througthout The Brief Wondrous Life of Oscar Wao?

In The Brief Wondrous Life of Oscar Wao, Junot
Diaz filters his themes of family, love, alienation, and violence through multiple
narrators (mainly Yunior).  In an interview, Diaz
said:

I felt like one of the biggest absences was
hiding in plain sight, which is that we actually never meet directly the protagonist.
The protagonist, Oscar, is always filtered through this other narrator, Yunior. Part of
it was this desire to make Oscar simultaneously present but also entirely invisible. It
was a strategy to talk a lot about how do you put a story together from fragments and
how you put a story together from
absences.

Because of the fuku (the
curse of the de Leon family and Dominicans under Trujillo's cruel regime) and Oscar's
martyrdom to end it, Yunior filters the family's history in non-chronological order,
tracing the curse back to its native roots, from New Jersey back to the Dominican.  At
the beginning of the novel, he is an older Yunior ("the Watcher"), one who footnotes,
showing his scholarly teacher identity.  The younger Yunior in the middle of the novel
is much less educated, more full of machismo.

Here is how Yunior
filters Oscar's story:

1. 1974-1987 - "GhettoNerd at the End
   of the World" - Oscar Wao


2. 1982-1985 - "Wildwood" -
   Lola


3. 1955-1962 - "The Three Heartbreaks of Belicia
   Cabral" - Hypatia "Belicia" Cabral


4. 1988-1992 -
   "Sentimental Education" - Oscar Wao and Yunior


5. 1944-1946
   - "Poor Abelard" - Abelard Luis Cabral


6. 1992-1995 - "Land
   of the Lost" - Oscar Wao


7. "The Final Voyage" - Oscar
   Wao


8. "The End of the Story" - Oscar Wao and
   Yunior

Yunior is very much like Diaz himself,
part "ghetto nerd," part "jock"/"meathead."  Even though he is an outsider to the family
and does not like Oscar at first, he inevitably fulfills Oscar's destiny by becoming a
teacher and author.

define remainder theorem and give example

The Remainder Theorem:

Given
a polynomial f(x), and a divisor (x-a).  If r is the remainder of f(x) divided by (x-a)
then f(a) = r.

Proof:

Let
f(x)/(x-a) = g(x)*q(x) + r/(x-a)   Now multiply everything by (x-a) and we
get

f(x) = g(x)*q(x)*(x-a) + r   Now evaluate at
x=a

f(a) = g(a)*q(a)*(a-a) + r  Now note (a-a) = 0 and
anything multiplied by 0 is 0

so f(a) = g(a)*q(a)*(0) + r =
0 + r = r

So f(a) = r

In the
above example f(4) = 30

f(4) = 4^3 - 7(4) - 6 = 64 - 28 - 6
= 36 - 6 = 30.

The remainder theorem is used in using
synthetic division to evaluate a polynomial because synthetic division is simplier,
generally produces smaller numbers, and less error prone than
evaluation.

4) 1 0   -7  -6
4  16
36
-----------------
1 4   -9 30   The remainder 30 is the function
evaluated at x = 4.

Why has Diamond chosen to write Guns, Germs, and Steel in this style?guns germs and steel preface

Diamond does not ever tell us in the preface why he has
chosen to write in the style that he uses.  We must simply try to infer why this style
would be useful to him.

First, let us characterize his
style.  We can say that it is an informal and not very academic style.  So, why would he
want to write in such a style?  The reason that I would suggest is that Diamond wants
the average reader to be able to enjoy his book.  He does not want the book to read like
a textbook because he wants it to be accessible to people who are not in
academia.

I would argue, then, that Diamond chooses his
style because he wants the book to appeal to a wide variety of
readers.

Hawaii is located in the middle of the Pacific Plate, not at its boundary of the ring of fire, yet it has many active volcanoes. Why is that?

Volcanoes occur in many locations that are not on the Ring
of Fire around the edge of the Pacific Plate. At any boundary between two or more of the
plates, volcanoes may occur. That's why there are volcanoes in Iceland, for
example.

Volcanoes may also occur at any weak or thin area
of the earth's crust. In the case of the Hawaiian islands, underwater volcanoes have
been erupting for millions of years. As the lava emerges from the underwater volcanic
cones, it hardens and adds to the height of the cones. Because this has been happening
for millions of years in Hawaii's case, the cones have risen above the ocean level and
are now land - the islands of the state, which are still getting taller and larger as
lava continues to emerge and cool.

Comment upon the function of the narrative voice in "The Veldt" by Ray Bradbury.

It is important to start by realising that this excellent
short story is written in the third person limited point of view, as we follow the
thoughts and actions of one character, George Hadley. Thus it is that we have access to
his thoughts and feelings, but are only able to "hear" the speech of other characters.
Thus it is that the unaware George Hadley, ignorant of what he is doing to his children,
brings in David McClean to help analyse the situation and the problems of his children.
The narrative voice thus uses David McClean's speech to provide valuable social
commentary on the situation that the Hadleys are facing, but more generally, upon the
impact of giving children the kind of unrestricted access to technology without careful
boundaries. Consider what David McClean says to George Hadley about the mistakes he had
made:

You've
let this room and this house replace you and your wife in your children's affections.
This room is their mother and father, far more important in their lives than their real
parents.

Thus the narrative
voice, in presenting the speech of David McClean, acts to present the important message
and warning that the story contains. Unrestricted access without boundaries to an
ever-more sophisticated technology can have unexepcted and devastating social impact, as
technology can become more important to children than traditional concepts such as
family and community. This is of course a social commentary that we need to heed
particularly in our day and age.