(a) Find an equation for the family of linear functions with slope 2 and several members of the family.(a) Find an equation for the family of...

a) We'll use the slope- intercept form of the equation of
linear function:

y = mx + n, where m is the slope and n is
the y intercept of the line.

In the given case, when the
slope m = 2, we can write the equation:

y = 2x +
n

To identify several members of this family, we'll plug in
values for n:

n = 1 => y = 2x +
1

n = 2 => y = 2x + 2

n
= `sqrt(2)` => y = 2x + `sqrt(2)`

Therefore, the
number of members of the family of linear functions whose slope is m=2 is infinite,
because the number of real values of n is infinite, too.

b)
To find an equation of a linear function, respecting the given condition f(2) = 1, we'll
recall the form of a linear function:

f(x) = mx +
n

If x = 2 => f(2) = 2m +
n

If f(2) = 1 => 2m + n = 1 => m = (1 -
n)/2

We'll write the linear function in terms of x and
n:

f(x) = (1-n)x/2 +
n

Therefore, the number of members of the family of linear
function f(x) = (1-n)x/2 + n is infinite, because the values of n belong to the real set
of numbers.

c) To discover a member that belongs to both
families of linear functions, we'll have to impose the following constraint: the slopes
must be equal and the y intercepts must be also equal.

2 =
(1 - n)/2

4 = 1 - n

n = 1 -
4

n =
-3

Therefore, the member that belongs to both
families of linear functions is y = 2x - 3.

What are examples of external and internal conflicts in Shakespeare's A Midsummer Night's Dream?

An internal conflict is the
type of conflict that takes place within a character. It refers to the character's
thought process, or the decisions the character must make. An internal conflict is also
spurred on by a motive and the resolution is central to the plot. In contrast,
external conflict takes place between characters. It is
usually a "fight, argument, disagreement, or simply opposition" between two characters
or two opposing sides ( href="http://www.leasttern.com/LitTerms/literary_terms.htm">Least Tern, "Literary
Terms for English"). Below is an example of both types of
conflict.

One example of an internal
conflict we see in A Midsummer Night's Dream is Hermia's internal
conflict. At the beginning of the story, Hermia is faced with the decision of saving
herself from punishment by marrying Demetrius, as her father is commanding, or risking
punishment by continuing to refuse, even daring to marry Lysander against her father's
will. We see a glimmer of the resolution of this internal conflict when, in the opening
scene, Lysander persuades Hermia to leave Athens with him so that they can be married in
a neighboring aunt's home, thereby escaping the harsh Athenian laws, as we see in his
lines:

There,
gentle Hermia, may I marry thee;
And to that place the sharp Athenian
law
Cannot pursue us.
(I.i.162-165)

Hermia's
defiance of her father can also be seen as external
conflict. Hermia's father, Egeus, wants her to marry Demetrius and is
threatening her with death if she continues to refuse, but Hermia opposes this idea. As
Hermia states, she does not want to "choose love by another's eyes" (I.i.142). Instead,
she wishes to marry the man she actually loves, Lysander. Since Hermia and Egeus both
have opposing perspectives on what Hermia should do, we can see that their argument is a
perfect example of external conflict.

How is love shown in Carver’s story “What We Talk about When We Talk about Love?"

Like so much in Carver's work, love is shown to be a
complex issue.  I think that one of the fundamental distinctions made is that within its
complexity lies different experiences.  Certainly, the experience of love is seen
differently between both couples.  Nick and Laura are at a different point in their
relationship and their lives that Terri and Mel.  On one hand, Nick and Laura feel that
their relationship and their conception of love is a fine one.  Yet, there is a lack of
depth to their feelings and sensations, one that indicates that there is an uncertainty
about the nature of love present.  At the same time, Mel and Terri probe into the more
frightening depths of love.  This is a subject that Mel continually drives back the
conversation to at different points.  The reality is that as the conversation continues,
Mel and Terri reflect an antagonism towards one another where there is an uncertainty
about what love is.  Yet, at the same time, there is a dislike and a sense of disconnect
about the fact that what their experience is with love is a painful one.  In this, one
sees that love has little definition and little means to define it, but the painful
experiences within it are real.  Carver might be suggesting that if there is a
definition to love, it can only be defined by the pain and misery that is a part of it. 
These experiences can be seen as "real" because they help define the reality of those
who experience it.  Laura and Nick are not there, and they have not been able to accrue
the experiences that might allow them to have a better idea of what love is.  However,
as the evening wears on, the alcohol ends, and the silence is all there is, the reality
is that the discussion of Terri and Mel might be something that Laura and Nick could be
revisiting later on in their own formulation of experiences and understanding of what
love is.

In the story The Lord of the Flies, what are three major complications that take place in and throughout the book?

The major conflicts that arise in Lord of the
Flies primarily occur between the boys as they try to survive their ordeal on
the island. Perhaps the prime complication comes between Ralph and Jack in their battle
for leadership supremacy. Although Ralph is elected leader of the stranded boys, Jack
refuses to accept the democratic decision, and he eventually takes control through force
and fear. Another conflict arises in the boys' perception of Piggy. The most intelligent
and scientifically adept of the boys, Piggy's outward appearance--he is pale, overweight
and has poor vision--is all the boys seem to see. His suggestions are usually denounced;
even Jack, who knows that Piggy is his most loyal and trusting ally, takes him for
granted, and Piggy is eventually killed. Another conflict comes in the form of the
beast, which represents evil and which instills fear in the boys. Eventually, as Jack's
hunters slowly grow less fearful, they decide to kill the beast and hang his head on a
pole. This act completes the boys' total collapse into
barbarism.

define pipi =3.142

Pi is the ratio of the circumference of a circle to its
diameter.

For example if the circumference was 22 and the
diameter 7, pi would be calculated by 22/7.

It was observed
by the ancient Greek mathematecians that this number would always be 3.14, thus you can
call it a constant.

The number is also in irrational
number. The numbers right of the decimal go on indefinitely and do not repeat
themselves.

What is the most important aspect in Ender's Game?

This is a very broad question, and clearly in any novel or
play there are going to be plenty of events that are very important to the overall plot.
However, for me, one vital element of this excellent story lies in the way that we
discover, as Ender does at the end, that the "game" he has been playing has not, in
fact, been a "game" at all, but has been a real life and death struggle against the
buggers, and that Ender's winning of the game actually represents the end of the war
against the buggers and also the annihilation of an entire species. This of course
raises the level of abuse that the military carry out on Ender to a new level, as
keeping him in ignorance meant that he committed a crime he never wanted to perpetrate.
Consider what Ender says the day after his victory:

readability="10">

I didn't want to kill them all. I didn't want to
kill anybody! I am not a killer! You didn't want me, you bastards, you wanted Peter, but
you made me do it, you tricked me into
it!

This fact takes the
title, Ender's Game, to an entirely new level of meaning, as not
only was Ender under the impression that he was playing just a game, but also he was
being played with by the military.

What are the thoughts in the mind of Coleridge as he muses beside a fire on a frosty night in the poem "Frost at Midnight?"

In Coleridge's poem, "Frost at Midnight," several thoughts
come to the speaker. The author (Coleridge) is sitting by the fire, in solitude that
allow him to pursue " href="http://dictionary.reference.com/browse/Abstruse">abtruser musings."
While his thoughts may be hard for others to follow, he sees a connection between his
own past and the future of his child—a son who sleeps in a cradle next to him, while the
rest of the household has retired for the evening.

One
thought that arises in the author's mind is how disturbingly quiet it is. The
"silentlessness" rather than calming Coleridge, makes him agitated. He notes how unusual
this lack of sound it, when the town is generally overrun by
noise.

He sees the "stranger" (a flap of sooty film) on the
fireplace's grate and recalls his years as a student away from home. The "stranger" was
superstitiously supposed to announce the arrival of an absent friend. The author alone
at school was still young enough to believe the superstition, and lonely enough to look
for a friend or family member (such as his sister—who he dearly loved) to appear
mystically at his school during these times of
isolation.

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How oft, at school, with most believing
mind,

Presageful, have I gazed upon the bars...and as
oft

With unclosed lids, already had I
dreamt

Of my sweet birth-place, and the old
church-tower...

As the author
sits looking at his sleeping child, he hopes and anticipates (as does every parent,
perhaps) that the future will hold so much more for his little boy than was offered
Coleridge. While Coleridge (the Romantic poet, with a love for nature) only saw the sky
and stars between buildings as he grew up, he hopes his son will wander over the face of
the earth, "like a breeze," by lakes, along shorelines, around mountains, and beneath
clouds. He expects God will grant him these things.

It
occurs to Coleridge that with this kind of familiarity with nature, his son will
perceive "all seasons [to] be sweet," wherever he goes and whatever the time of
year.

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Therefore all seasons shall be sweet to
thee,
Whether the summer clothe the general earth
With greenness, or
the redbreast sit and
sing...

These are the main
ideas that occur to the poet as he sits by the fire while their is "frost at
midnight."

Where are the Achaians at the opening of Homer's Iliad and why did Apollo send “deadly arrows” against them?

Homer's Iliad opens in the Greek camp
on the beach near the town of Troy (also called Ilium or Ilion). Troy is located in the
northwest corner of what is today the country of Turkey.

At
the beginning of the poem, Chryses, a priest of Apollo, comes to the Greek camp with an
offer of ransom for his daughter, Chryseis, whom the Greeks have taken captive. Chryseis
is now in the possession of Agamemnon, commander-in-chief of the Greek forces. Agamemnon
treats Chryses rather rudely and refuses to ransom
Chryseis.

Rejected by Agamemnon, Chryses prays to Apollo
for assistance and Apollo responds by striking the Greeks with a plague (Iliad
1.50-51):

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First, the god massacred mules and swift-running
dogs,

then loosed sharp arrows in among the troops
themselves.

(Ian Johnston
translation)

Thus, Apollo's
arrows are blows of illness that afflict the Greek army. This plague eventually prompts
Agamemnon to return Chryseis to her father.
 

What is the significance of the title of A Streetcar Named Desire?

The streetcar named "Desire" in the play was the one which
brought Blanche to the Kowalskis' shabby apartment in New Orleans.  Blanche even makes
reference to it upon her arrival (to the neighbour), even before Stella knows her sister
is there.

The ambulant streetcar
crisscrossing New Orleans represents Blanche's own vagrancy and her inability to settle
down. Blanche reproaches Stella for having married beneath
herself, but she has been unable to even do as much. Her husband Alan had killed himself
after a conjugal dispute. Then as a single schoolteacher, she also lost her job for
having made advances on a student. Later she loses the last vestiges of her reputation
hanging around a sleazy hotel as an easy "pickup."

Blanche
leaves her sister's place as abruptly as she came, only she does not leave alone nor
does she take cheap public transportation.  She is escorted to an insane asylum since
her stories of Stanley raping her (which are indeed true) are taken as a hysterical
fabulation.  Her last statement rings a certain truth, for she can no longer count on
friends, not even her sisiter Stella, and must rely on strangers for help. Her puerile
whims and unrestrained sexuality (her desires) have led her to to her own ruin, but so
has the incomprehension of others.

As far as changing the
title, "A Streetcar Named Desire" focuses much more on internal conflict than "A Poker
Night."  It is more general in scope and universal in theme; it evokes more pathos and
identification with the character as well.

Under what circumstances has Dr. Manette seen Charles Darnay as a small child?A Tale of Two Cities by Charles Dickens Book the Third, chapters 9...

At the end of Chapter XIX of Book the Third, Monsieur
Defarge produces a piece of paper that he found when he entered the Bastille on the
first day of the Revolution. This piece of paper is from 105 North Tower of the Bastille
prison; it is the personal record of Dr. Alexandre Manette.  Ironically, his writing of
this record turns out to work against Dr. Manette's defense of Charles Darnay in his
second trial, for in this paper, Dr. Manette denounces the entire Evremonde
family.

During the reading of Manette's record, it is
revealed that the Evremonde twin brothers had caused the death of a family except for a
younger sister who had been taken to safety.  A young man whom Dr. Manette had been
summoned to attend placed a blood curse upon the Evremonde family before he died; his
ravished sister died shortly afterward.  Worried about the consequences of their
actions, the Evremondes had Manette taken to prison.  Because of his unjust
imprisonment, Manette condemns the Evremondes.

In the
contents of his written document, Manette made mention that the wife of one of the
Evremonde twins paid him a visit on the following day after somehow learning of the
deed, although she was unaware that the girl had died. She told Dr. Manette that she was
in dread of the brother and her husband both. 

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"I have a presentiment that if no other innocent
atonement is made for this, it will one day be required of
him." 

Then, she kissed the
boy with her, saying, "It is for thine own dear sake.  Thou wilt be faithul, little
Charles?"   This boy, of course, is Charles d'Evremonde, who has changed his name to
Charles Darnay.

In Anne Frank: Diary of a Young Girl, how does Anne use imagery to describe both the environment of her hiding place and the people in it?

One cannot read Anne Frank's work without realizing that
the girl was born to write.  Her descriptions of people and places are full of
personality and creative vocabulary.  As an elementary school student, she describes a
classmate as "a detetestable, sneaky, stuck-up, two-faced gossip who thinks she's so
grown-up" and mentions that she herself has "a throng of admirers who can't keep their
adoring eyes off me."  When the family first goes into hiding, she decides that she will
simply pretend that they are in a "strange boarding house" on vacation, and she observes
that the Frank's hiding place is likely the nicest one in
Amsterdam. 

As Ann gets older, in the hiding place, her
descriptions become more mature and thoughtful.  She will later observe of herself:  "I
was born happy, I love people, I have a trusting nature, and I'd like everyone else to
be happy too.’’  And as the gravity of the situation becomes increasingly apparent to a
maturing Anne, her comments become more serious, albeit still artistic; of the situation
she and her family and their friends are facing in hiding from the Nazis, she
says:

"I see
the eight of us in the Annex as if we were a patch of blue sky surrounded by menacing
black clouds. . . . [They loom] before us like an impenetrable wall, trying to crush us,
but not yet able to. I can only cry out and implore, “Oh ring, ring, open wide and let
us out!”

She also reflects on
her conflicts with her mother, and the Van Daans, wondering if they will ever be able
to "see me as a teenager badly in need of some good, plain fun."

How did Elizabeth 1 and James 1 feel about the beliefs of English Puritans?

The Puritans were not happy with either Elizabeth of
James; however they did not constitute a serious threat to either. This was primarily
because they had no established theory of religion; they only knew that which they were
against.

Elizabeth I had been subjected to merciless abuse
and barely escaped execution herself at the hands of her half sister, Mary I, who was
determined to return England to Catholicism. Elizabeth, who was quite pragmatic,
developed a religious settlement which preserved all the pageantry and ritual of the
Catholic service, but allowed some degree of Protestant belief. This was not enough for
the Puritans, who wanted to "purify" the church from any element of "popery." It is from
this that the name "puritan" originated. The term was pejorative; they called themselves
"the Godly." The Puritans criticized Elizabeth heavily for not eliminating the vestments
of Catholicism, but had no direct influence on her religious policy. They were more of
an annoyance than anything else.

James I, formerly James VI
of Scotland, had thirty five years experience as ruler of Scotland, and should have been
as well versed as Elizabeth in dealing with religious dissidents; but was too proud of
himself to be bothered. He also considered himself to be something of an armchair
theologian. He was called the "wisest fool in Christendom." James was Calvinist, but not
a Puritan by any stretch. At one point, the Puritans insisted that he abolish the office
of Bishop in the Church as this constituted popery. His reply was "no bishop, no King."
Although the Puritans gained seats in the House of Commons, they again constituted o
threat to James. His son, Charles I was not so lucky. It was a Puritan House of Commons
under Oliver Cromwell that sentenced him to death.

Why does Fanny try to convince Lenina to be more promiscuous in Brave new World?

"When the individual feels, the community
reels."

It's not much more complicated than that.  Sex
based on relationships can lead to all kinds of "bad" things ... frustruation, anxiety,
possessiveness --- all the things that we learn about in the text when it speaks of the
"family" as is used to exist.  Sex, rather than an action that isolates individuals and
links them together for the inevitable "reeling" that seems to always come from it, has
been reduced to  an action that has no expectations of anything past the moment.  In
order to make sure this happens, promiscuity is not only tolerated, but also encouraged
... going "out" with the same man over and over again could lead to attachments and do
the community harm ... and the community is much more important than the momentary
happiness of an individual.

Sex serves much the
same purpose as soma ... don't let an individual feel anything and you help assure the
stability of the whole.

"When the individual feels, the
community reels."

What are the best comedy quotes for Much Ado About Nothing?

This is a bit of a broad question, but I think if you are
after the finest comedy in this excellent play, you need look no further than the
interactions between Benedick and Beatrice and the kind of verbal dexterity that
characterises their "merry war" as each makes clear the disdain that they feel for the
other. Consider, for example, the following exchange from Act I scene 1. In response to
Benedick stating that he "loves none," note how Beatrice
responds:

A
dear happiness to women. They would else have been troubled with a pernicious suitor. I
thank God and my cold blood I am of your humour for that. I had rather hear my dog bark
at a crow than a man swear he loves
me.

To which Benedick
responds that he would that God keeps her in this frame of mind so that some poor
gentleman will escape "a predestinate scratched face." The wit and humour in such
exchanges are by far the finest examples of comedy in the play, and are worthy of
serious analysis. You might also like to look at the scenes containing Dogberry and how
his stupidity and propensity to use malapropisms yields a different kind of
comedy.

What is Azucena's pathetic responsibility in "And of Clay Are We Created"?

I am not too sure that I fully understand what you mean by
"pathetic responsibility." Are you talking about the impact that Azucena has on Rolf
Carle's life through their brief but profound friendship? If I am incorrect with this
assumption, please write back to me giving a definition of this
phrase.

However, if this is the case, it is clear that
Azucena, although she is so young, fragile and tender, has an incredible impact on Rolf
Carle's life. As Rolf joins Azucena on the journey of her last few hours and tries to
struggle to save her from death, her suffering that he witnesses unlocks his own
repressed suffering, and lets it loose in one tremendous surge. Consider what the story
tells us about this process:

readability="12">

That night, imperceptibly, the unyielding
floodgates that had contained Rolf Carle's past for so many years began to open, and the
torrent of all that had lain hidden in the deepest and most secret layers of memory
poured out, leveling before it the obstacles that had blocked his consciousness for so
long.

This, surely is
Azucena's "pathetic responsibility." Unknowingly, the way that she bonds so closely with
Rolf Carle forces him to acknowledge his own suffering and pain, and through this, to
rise above it. As he accepts Azucena's death and says goodbye to her, note what happens
to both of them:

readability="12">

I felt how in that instant both were saved from
despair, how they were freed from the clay, how they rose above the vultures and
helicopters, how togethery they flew above the vast swamp of corruption and laments.
How, finally, they were able to accept
death.

Rolf Carle emerges
from this experience a changed man, but a man who is better for having befriended
Azucena and for spending her last hours on this earth with her.

How do the mothers use the "talk-story" in The Joy Luck Club by Amy Tan?

In order to discuss how mothers use the "talk-story" in
Amy Tan's The Joy Luck Club, it is important to understand what the
talk-story is; and in order to do so, one must understand
high-context cultures compared to low-context cultures. These concepts are defined in
terms of how much verbal communication takes place, as opposed to how much communication
is inferred—understood without explanation.
The high-context culture, e.g., China, offers little verbal explanation. Children are
carefully trained to understand things inherently. Mothers of Chinese children do not
share "written or spoken messages" with their children—even expecting that various
aspects of the culture will prompt their children to follow unspoken social norms simply
by watching and imitating what goes on around them.

In a
low-context culture, such as that of the United States, everything
is explained—inference is not an option. Children are not expected to understand a
non-verbal language. American children are given verbal
instructions with details. Because of differences in "sharing information" in these very
diverse cultures, the children act much differently. Children of Chinese parents living
in the East will understand how to honor their ancestors, will know that children take
care of their parents when the children become adults, etc. There is no question: it is
understood. This culture is steeped in tradition and is slow to change. Conversely, in
the U.S., because everything is explained, there is more social
flexibility, things change much more quickly, and children do not tenaciously grasp
things that are cultural norms, but will question their parents—even rejecting their
value systems.

With this being said, it is difficult for
the Chinese mothers of Chinese-American children to convey what their children need to
learn for they believe that this information is shared almost by
osmosis.

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Am-mei, for instance, sees in her mother "my own
true nature. What was beneath my skin. Inside my
bones..."

While children of
Chinese parents struggle to understand the unspoken information that they feel they need
to know, Chinese mothers cannot speak the words their children wait to hear. Frustration
arises between the mothers and their daughters in The Joy Luck
Club. Mothers are confused by what their daughters don't
know and the daughters feel they are missing something.

The
"talk-story" is a practice that allows the mothers to share information by presenting
their "stories" in the form of folklore:

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One way of maintaining and instructing children
in traditional ways which Chinese immigrants adopted is the traditional Chinese talk
story.

"Oral wisdom" is
passed down in traditional ways such as parables, proverbs, etc., without the mother
having to explain the point (as is needed with Aesop's
Fables..."and the moral of the story is..."). The mothers in Amy Tan's novel use this
technique. If we understand that to have to explain oneself in China is an
embarrassment, we can easily realize that this technique gives the
mothers socially- accepted...

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...public utterances: painful experiences are
recast in the language of folk tale; cautionary reminders become gnomic phrases; real
life takes on the contours of
myth.

The reserve of the
usually silent mother in the Chinese culture, as well as the one who maintains distance
from her audience, is upheld. In this way, both mother and daughter find acceptable ways
to express themselves—in expressing their "essential self."

What is the conflict in the beginning of The Egypt Game?

I think you are refering to the second chapter of this
excellent book, because the book actually starts in media res, or
in the middle of things, and then cuts to the beginning in the second chapter. This
chapter introduces a very important character and her central conflict. April Hall has
been sent to live with her grandmother by her mother, however April deeply resents this
and feels that this is just a temporary arrangement, and that her mother will send for
her very soon. Note how this second chapter introduces the
scenario:

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Exactly one month before the Egypt Game began in
the Professor's backyard she had come, very reluctantly, to live in teh shabby splendour
of an old California-Spanish apartment house called the Casa Rosada. She came because
she had been sent away by Dorothea, her beautiful and glamorous mother, to live with a
grandmother she hardly knew, and who wore her grey hair in a bun on the back of her
head.

April's conflict thus
lies in the way that she has been effectively sent away by her mother to live with a
stranger. She refuses to settle down in this place, as this would signal that she
recognises her mother is highly unlikely to send for her and ask her to come and live
with her again.

Please help!Tom bought a notebook with 100 sheets and numbered it pages consectutively from 1 to 200. Jerry pulled out 43 sheets and added up all...

There is notebook with pages numbered 1 through 200. 43
random sheets are removed (therefore 86 page numbers). Therefore, the question
is:

Is it possible for 86 random numbers between 1 and 200
to add up to 2011?

The answer is no, it is not
possible. Suppose the first 43 sheets were removed (thus giving us page numbers 1 - 86).
This would give us a lower bound, since these are the lowest possbile numbers.
But

1 + 2+ 3+ ... + 86
= 3741.

Therefore, the sum must be greater than or equal
to 3741. 2011 is less than this, so the sum cannot equal
2011.

Choose a death scene from The Crucible and show how that death scene serves to illuminate the meaning of the work, as a whole.

I think that the death scenes in Miller's work really help
to bring out the work's meaning.  The first step would be to define the meaning of the
drama.  I think that one potential meaning is that when there is a collision between
what society wants and what the individual believes, one must make a conscious decision
between the two. The choice one makes defines their being and they must make peace with
such a decision for it is a reflection of their beliefs and values, reflected in moments
of death.

Giles Corey's death is a mirror of this.  Corey's
character is constructed as such that there is little in way of ambivalence or obscurity
as to what he believes.  Consider how Miller describes him in Act
One:

No man
has ever been blamed for so much... He didn't give a hoot for public opinion... a deeply
innocent and brave man.

The
fact that he has no care for "public opinion" is demonstrated in the brazen way he
interrupts the court proceedings in Act III and drafts his own legal briefs in asserting
Putnam's guilt in the accusations.  When pressured by Danforth to "give names," his
defiance is reflected in his death to be told later:

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I will give you [Danforth and the Court] no
name.  I mentioned my wife's name once and I'll burn in hell long enough for that.  I
stand mute.

The defiant
dignity with which Corey defines himself against a corrupt legal and social setting is
seen in his death.  Pressed by stones, Corey says, "More weight."  These become his only
words.  In these words and in his death, one sees a great deal of relevance to the work,
as a whole.  The pressure from the stones can be seen as the social pressure that weigh
down on the people in Salem.  While some acquiesce under these weights, Corey does not. 
He takes it and demands, "More weight."  One can see this as a reflection of his stand
of defiance, as one that shows a lack of care in what others say.  He demands, "More
weight" to show that he will be crushed to death, but will be pressured into death with
the integrity that has become a part of his identity.  His death is a reflection of both
his life and the meaning of the work in how individuals must wrestle with the choice of
having to define themselves in concert or against a corrupt
society.

For Proctor, his death is reflective of the same
decision that all accused individuals must arrive at in the course of the drama.  For
Proctor, there has been ambivalence and questioning about "the right thing."  He has
lacked Corey's single mindedness and determination.  For his own personal reasons and a
desire to live, he has shown a vacillation.  It is for this reason he "confesses."  Yet,
when he recognizes the implications of his actions, he reverses course.  In his
reversal, Proctor echoes the meaning of the play by staying true to oneself.  In the
face of corruption, one's name is the only absolute in a world of
contingency:

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Because it is my name! Because I cannot have
another in my life! Because I lie and sign myself to lies! Because I am not worth the
dust on the feet of them that hang! How may I live without my name? I have given you my
soul, leave me my
name!

Proctor's death scene
shows how one has to live with the consequences of their name and reputation.  In this
scene, Proctor's death reflects how individuals must live with their choices and Proctor
finally seems ready to live with his.  In this moment, Proctor has become a force to
transcend that which is contingent.

Why doesn't Mr. White want Mrs. White to see her son, Herbert, after the death and when the wish is asked in "The Monkey's Paw"?

The author has already revealed that Herbert has been
mangled in the machinery at work, so we can assume that his body is no longer the way
the Whites remember him. When Mr. White made the second wish--"I wish my son alive
again"--he did not fully comprehend the possibilities, just as he had not considered the
awful implications that could come with the first wish. He had been badgered by his wife
to make the wish out of their own sadness and desperation. Only after he makes the
second wish and hears the knock on the door does Mr. White realize that the knock comes
from Herbert--and that he will be in the same state in which he died, not as the healthy
son they remember. Mr. White understands that if he opens the door, it will be the
returned-from-the-dead Herbert, complete with the terrible injuries he received in the
accident; so, he makes the third wish--presumably that Herbert be dead once again--in
order to spare his wife from any further horrors.

explain this stanza in detail plzThe inmates of my cottage, all at rest, Have left me to that solitude, which suits Abstruser musings: save that at...

Samuel Taylor Coleridge wrote "Frost at Midnight" as part
of a series of poems that deals with his belief that every child should grow up in the
English countryside.  The imortance of nature and religion are apparent in this passage.
 He says that everyone in the house is sound asleep, including his baby.  He says that
the sleep is so calm and peaceful that it is almost strange and that this calmness is
due to the sounds of nature outside: the ocean and trees, etc.  The word Abstruser was
often used during this time period of English literature, but it no longer used in this
way.  It means difficult to comprehend. He is saying that he is left alone with his
complex thoughts (knowing Coleridge, they are probably in relation to
God).

Why is "Waiting for Godot" a "Comedy of the Absurd"'?

One of the key figures in the 1950’s, Samuel Beckett
opened the doors for writers and audiences that had never been entered before.  His
play, “Waiting for Godot,” came to be called by Martin Esslen as an “essential example”
of the “Theatre of the Absurd.”  Beckett didn’t acknowledge this, but this style of
writing still became of the most influential theatre movements of the twentieth
century.

These types of plays threw out all conventional
ideas for what drama was up until then. Beckett and the other writers of this genre gave
their plays seemingly no sense of purpose, and that’s what they wanted to show: after
the horrors of all war and its aftermath,  the world was no longer a neatly structured
place, and neither were the Absurdist plays, especially “Godot.”

When were Shakespeare’s works collected and printed?

William Shakespeare never authorized the printing of any
of his plays. The plays were actually printed by two of actors who worked with
Shakespeare: Henry Condell and John Hemminge.

Plays, during
Shakespeare's time, where not written as texts like they are today. Shakespeare actually
hired a scribe to create the manuscripts for him. The name of the scribe was Ralph
Crane. The first collection upon which Crane worked on came to be known as the First
Folio given it was the first written collection of Shakespeare's
works.

The First Folio was published seven years after
Shakespeare's death in 1623. Published by William Jaggard and consisted of 36 of
Shakespeare's plays and was reprinted three times.

The
Second Folio was published in 1632. The Third Folio was published in 1663 and the Fourth
Folio was published in 1685.

Both the Third and Fourth
Folios contained 43 plays having 7 added to the folio in the
Third.

Given that when Shakespeare created the plays, they
were not really formalized texts. As stated before, Shakespeare hired a scribe to write
down the dialogue of the plays as they were performed. None of Shakespeare's original
texts of his plays exist. Collection was enacted by fellow actors, publishing houses,
and the acting troupes with which Shakespeare worked.

In what ways is Ultima a believer in animism Bless Me, Ultima?

According to the Oxford American Dictionary, animism
is

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The attribution of a soul to plants,
inanimate objects and natural
phenomena

Ultima
is a curandera, the modern day equivalent of a medicine woman or shaman.  While the
dominant religion of the region is Catholic, traditions and beliefs have survived from
the days of Native animist religions, and Ultima has preserved
them.

Her "power animal" so to speak, is the owl, and her
spirit is bonded to it.  This is why Tenorio kills the owl towards the end in an attempt
to kill Ultima, after he discovers this secret.

Ultima's
healing rituals, using natural herbs and plants gathered and prepared in the traditional
ways, attempt to expel evil spirits and illnesses, as well as counter curses placed by
Tenorio's bruja (witch) daughters.

All
of these are examples of Ultima's animist beliefs and practices.

In Great Expectations, what secret does Herbert realize at the end of Chapter 41?

After the mysterious appearance of his old convict on the
stairs of his lodging at Barnard's Inn, Pip is completely alarmed and repulsed by the
news that it is he, Magwitch, who has been his benefactor for his "great expectations"
of becoming a gentleman.  Then, one night Pip is startled out of his sleep by the
arrival of Herbert because Provis has staggered up and opened his jack-knife in
anticipation of an enemy.  Pip, however, allays the old convict's fears by telling him
that it is Herbert.

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In vain should I attempt to describe the
astonishment and disquiet of Herbert, when he and I and Provis sat down before the fire,
and I recounted the whole of the
secret.

Thus begins Chapter
XLI in which Provis has made Herbert swear on a bible not to reveal any of what is told
him.  Provis then relates his history:  He is the convict whom Pip encountered on the
marshes as a child.  Having always remembered the kindness shown to him by the boy,
Provis has used the fortune that he has amassed in New South Wales working on a sheep
farm in order to provide for Pip's becoming a gentleman, apparently as a revenge against
Compeyson and a compensation for all his misery in his own
youth.

After hearing this secret, Herbert reflects in his
face all the repugnance towards the man that Pip himself has felt. Nonetheless, as a
true gentleman, Herbert remains polite.  But, finally, when Provis departs, Herbert
consoles Pip and they confer with one another about what to do with Provis. Wisely,
Herbert suggests that Pip get Provis out of England since he wishes to buy Pip various
kinds of extravagances which will draw attention to them all.  To Herbert's credit,
also, he remains Pip's loyal friend and even understands the situation with
Provis:

And
you have, and are bound to have, that tenderness for the life he has risked on your
account, that you must save him, if possible, from throwing it away. Then you must get
him out of England before you stir a finger to extricate yourself. That done, extricate
yourself, in Heaven's name, and we'll see it out together, dear old
boy.

These words exemplify
the meaning of a true gentleman; that is, one who is gentle in his heart, not simply one
with an aristocratic name and wealth, as all of Herbert's relatives but his
father believe.