Why are there allusions to darkness in "The Lottery"?

Early civilizations attributed the evil of their society symbolically to one member of the group, either human or animal.  This creature was then killed so that the society could be rid of evil, thus allowing a better future for those who are left.  In Shirley Jackson's "The Lottery," the black spot, then, is the mark of evil; the paper is contained in a black wooden box in which the ballots were made the night before and the spot made with the "heavy pencil in the coal-company office." (Coal in the slippers at Christmas is from Prince Rupert, the devil, for the bad children.)

On the day of the lottery, the person who holds the paper with this carbon spot of evil is designated as the "scapegoat." That someone should be chosen in such an arbitrary way seems absurd, but the adherence to this dark ritual points to the irrational mob psychology of people, perhaps even suggesting the psychology of the Nazis who were capable of mass genocide since Jackson wrote this story in 1948.

How does Jack manipulate the boys in "Lord of the Flies"?

Jack plays emotion in order to manipulate the boys.  Ralph and Piggy represent reason in the story, and try to reason with the boys by explaining the "truths", as they see them - the importance of the fire, the unlikeliness of the beast, etc..  However, Jack, as the symbol of emotion and instinct, is ultimately more effective in the end, as we see in the breakdown of civilization upon the island.

The two emotions that Jack focuses on the most are excitement and fear.  The first he uses is excitement.  He leads his choir boys into a hunting party because hunting is fun and exiciting.  It is primal, and it makes the heart pump.  The boys relish the adrenaline.  Even Ralph is pulled in by the excitment of the hunt.  After he hits the pig with the spear, he gets so caught up in the excitment that he boasts:

"I hit him all right. The spear stuck in. I wounded him."  He sunned himself in their new respect and felt that hunting was good after all.

In the end, the boys turn the hunt into a play, and use Robert as the "pig."  It is this that eventually turns Ralph off, because he notices in himself his own desire to get at Robert, who ends up crying and hurt.  However, in all, the boys are enjoying their "games" and will remain loyal to jack for the excitment.

Back at camp, Jack uses the emotion of fear as a manipulation technique.  When Ralph tries to emphasize the need for the fire, Jack plays up the horror of the "beast" to insist that there needs to be more focus on hunting and less on the fire.  He scares the littleuns into hysterics, and Ralph loses control of the meeting, as Jack had planned.

What are 5 characteristics of Napoleon in Animal Farm?

He is proud and vain - He invents elaborate ceremonies in honour of himself. He struts about the farm, putting on airs and hoping all the animals will notice his natural superiority.

He is jealous and touchy (easily offended)by nature - He gets offended when Snowball gets more praise than he does and when he gets drunk from whiskey (as if it were somebody else's fault).

He is scheming and manipulative - Early on in the story he takes Bluebell's puppies to turn them into killer dogs at his beck and call, and he invents lies against Snowball as well as having the dogs chase him away.

He is selfish and uncaring for others - Along with his elitist group, he keeps extra portions of milk and apples and even sells Boxer in the end to the knacker in exchange for whiskey.

He knows his limits - Aware that he lacks skills in oration, Napoleon sends Squealer to speak in his place. He also bides his time until the puppies grow up and are trained to be the secret police he needs before trying to repress the animals by force.

What is Oedipus's curse on Thebes?"Oedipus Rex" by Sophocles

With the opening of the play "Oedipus Rex," famines, fires, and plagues have beset the town of Thebes.  Oedipus asks the people why they pray and "lament" since they have come to petition him:

Tell me, and never doubt that I will help you/In every way I can; I should be heartless/Were I not moved to find you suppliant here.

Because Oedipus is revered for having solved the riddle of the Sphinx, the priest asks him to "Find us our safety, find us a remedy" to the troubles upon them.  When Kreon, the brother of Jocaste, wife of Oedipus, enters, he tells Oedipus that the oracle reports that Apollo has commanded them

to expel from the land of Thebes/ An old defilement we are sheltering.

Kreon further explains that it was the murder of King Laios, who once ruled Thebes, that is the cause of th "plague-wind on the city."  And, Apollo commands the people "To take revenge upon whoever killed him."

This last statement is an example of situational irony since Oedipus does not realize that it is he himself who has killed Laios.  This irony is pivotal to the play and its role of fate as Oedipus feels that he exercises his freedom of choice as Oedipus investigates the cause of the murder only to finally realize his own fateful act, his tragic mistake, or harmatia, which has brought upon Thebes the curse of the "plague-wind."

Why does Orwell call Animal Farm a fairytale?

Orwell's Animal Farm meets the requirements of a fairy tale for several reasons.  First, it contains many of the common fairy tale elements such as evil villains and noble characters.  At first the villain appears to be Mr. Jones, but in the end the reader discovers that Napoleon is far worse.  Boxer is the noble, hardworking, common character, who tries to defeat evil forces. He is willing to sacrifice his life if need be.  Additionally, there is a castle of sorts--the farm--and royalty (Mr. Jones, who represents the Czar). One could also argue that the reader expects the story to end with the animals enjoying their freedom--a happily ever after ending--much like what the Russians originally expected when they threw off the reign of the Czar.

Secondly, the novellete is a beast fable which brings in the magical element found in fairy tales.  Animals cannot only speak, walk around on two legs, and philosophize, but they also appear to be smarter than humans.  The animals, not the humans, provide a moral (or lesson) at the end.  This characteristic is common to beast fables, but it also works within a fairy tale because often animals or some other magical element provides the moral of the story.

Finally, and more specifically why Orwell describes his work as a fairy tale is because of his view of the Russian Revolution and the resulting rule of Stalin.  Orwell sees the promises made by Lenin and Stalin to the commoners as being much like a fairy tale.  They promised "happy endings" and a sort of utopia to the people, and yet they were the evil villains who stole happiness, equality, and success from their subjects. In Orwell's portrayal of Marxism, it is simply a fairy tale--something that sounds marvelous but is impractical and impossible to achieve.

In "Hamlet" what is prose? It happens in Acts 2 and 3.Shakespeare's "Hamlet"

In Act II, Scene 2, Shakespeare's use of prose slows down the brisk pace of Act I and the first scene of Act II.  This slower pace allows Shakespeare to establish Claudius's guilt as the murder of King Hamlet, and to begin the exploration of Hamlet's tortured mental state, a state caught between love, grief, and the desire for revenge against Claudius and the treachery of his former friends, Rosencrantz and Guildenstern.

In this second act, the conversations in prose allow for the introduction of a couple of motifs in "Hamlet":  The inane conversation between Polonius and Hamlet  introduces the motif of appearances differing from inner qualities as Hamlet feigns madness and Polonius plans to use Ophelia to spy upon Hamlet.  In his conversation with his old friends, Rosencrantz and Guidenstern, Hamlet gets them to confess that they have been sent to spy on him.  However, their loyalty to Hamlet presents a problem to the reader later in Act V when he betrays them.

Likewise, the converstation with the players about the child actors introduces the motif of youth rising up to supercede their elders.  Since the mention of boys playing the roles of women is present, the motif of illusion versus reality is introduced, as well.  In short, the prose of Act II is an instrument of introduction for serveral motifs.

What makes William Cullen Bryants' "Thanatopsis" special and/or important?

     To him who in the love of Nature holds   

Communion with her visible forms, she speaks   

A various language; for his gayer hours   

She has a voice of gladness, and a smile   

And eloquence of beauty, and she glides   

Into his darker musings, with a mild   

And healing sympathy, that steals away   

Their sharpness, ere he is aware. When thoughts   

Of the last bitter hour come like a blight   

Over thy spirit, and sad images   

Of the stern agony, and shroud, and pall,   

And breathless darkness, and the narrow house,   

Make thee to shudder, and grow sick at heart;—   

Go forth, under the open sky, and list   

To Nature’s teachings, while from all around—

Earth and her waters, and the depths of air—

Comes a still voice—

"Thanatopsis" is a declamatory piece par excellence. It is full of Wordsworthian and Emersonian homilies, but it is interesting because it is a fine poem for reciting aloud. What is most interesting is Bryant's allowance for the fact that the reader, if reading aloud, has to take breaths and can only do so appropriately at certain places, not necessarily at the ends of the ends of the iambic-pentameter lines. In the fragment of the poem quoted above, it seems apparent that the first breath is allowed for at the end of these words:

To him who in the love of nature holds

Communion with her visible forms, (deep breath) she speaks

A various language;

The last three words end with a semicolon, suggesting that here is an invitation for the reader to take another deep breath and then go on with

for his gayer hours   

She has a voice of gladness, and a smile   

And eloquence of beauty, 

Here the comma lets the reader not only take in another breath but to open his or her mouth in preparation for saying the word "and" in the following:

and she glides   

Into his darker musings, with a mild   

And healing sympathy,

Another comma tells the reader to take another breath, and the word "that" is a perfect occasion because the reader has to open his mouth to say it.

that steals away   

Their sharpness, ere he is aware. 

Now Bryant presents us with a generous period, a full stop, in which to take a really deep breath and get ready for the next burst of eloquence. And so on.

You cannot, especially as a young person, appreciate this old warhorse of a poem without having a little fun with it. And the way to have fun with it is to read it aloud, with expression, maybe a little melodramatically, and becoming aware of how adroitly Bryant has allowed for the fact that we humans have to breathe from time to time. It also gives us a better awareness and understanding of the purpose of commas, semicolons, and periods. We should not only read Shakespeare and poetry aloud, but we should read our own compositions aloud and see how they sound as well as what they mean.

When composers write for wind instruments or for vocalists, they have to allow for the fact that breathing is of the utmost importance. Good examples are to be found in Mozart's beautiful concertos for French Horn (Kochel 412, 417, 447, 495) and in the famous chorus to the fourth movement of Beethoven's 9th Symphony.

In To Kill a Mockingbird, what do we learn about the Cunningham clan in Chapter 2?

One of the many strengths of this novel is the number of minor characters who are brought into the story. Harper Lee creates the whole of Maycomb county through these people and their distinct personalities. The Cunninghams are introduced in Chapter 2, and they reappear several times in the story, most dramatically in regard to Tom Robinson's imprisonment, trial, and conviction.

The Cunninghams are introduced to us in the person of Walter, Scout's friend and classmate. This description of Walter reveals a great deal about the family and their circumstances:

Walter Cunningham's face told everybody in the first grade he had hookworms. His absence of shoes told us how he got them. People caught hookworms going barefooted in barnyards and hog wallows. If Walter had owned any shoes he would have worn them the first day of school and then discarded them until mid-winter. He did have on a clean shirt and neatly mended overalls.

The Cunninghams are poor country folks, but they are proud people. They do the best they can with what they have. Walter has no shoes, but his shirt has been washed and his worn overalls have been mended.

At lunch time, Walter is too proud to admit he has no lunch. When Miss Caroline, meaning well, asks if he has forgotten his lunch, Walter doesn't answer. He stares straight ahead, and a muscle works in his "skinny jaw." Walter doesn't want to tell the truth, but he doesn't want to lie. He has no doubt been taught better than to lie, but his pride prevails. He tells the white lie. When Miss Caroline then tries to lend him a quarter so that he can buy his lunch, Walter won't take it. He is firm, but respectful:

Walter shook his head. "Nome thank you ma'am," he drawled softly.

Miss Caroline's continued efforts to make Walter take the money prompt Scout to explain the Cunninghams to her:

The Cunninghams never took anything they can't pay back--no church baskets and no scrip stamps. They never took anything off of anybody, they get along on what they have. They don't have much, but they get along on it.

In his encounter with Miss Caroline, Walter's appearance and his proud, polite behavior reflect his family heritage. We learn a great deal about the Cunninghams through this little boy.

As much as I understand, Golding emphasizes the importance of civilization. How does he do this in the novel?What role does civilization in our...

There's a lot of truth to what you're saying.  Golding puts civilized boys on a deserted island, and they quickly become barbaric in their survival mode.  The boys who hold on to the idea of rescue as a real possibility are also the boys who represent some of the best parts of civilization:  intelligence, logic, innocence, and friendship for the sake of friendship rather than necessity.  Jack's "friends" aren't true friends...they are afraid of him and they find safety in numbers. 

Ralph is the first to be chosen as leader by the boys.  He represents logic and reason.  He is the one who orchestrates the shelter, the food, the water, and the signal fire.  He is also the first to initiate a friendship with Piggy, whom the other boys make fun of due to his weight and his glasses.

Piggy represents intelligence.  He and Ralph make a great team as far as leadership and keeping the boys grounded in their civilization.  Ralph and Piggy are the last to lose all their clothing items as well, whereas the others almost immediately have shed all that makes them civilized British boys on the outside, so the slippery slope to barbarism on the inside is a much easier transition.

Simon represents innocence.  Although he is also very sensitive and intuitive, he is the innocent on the island and the first to die.  Ironically, he dies the same day he spent so much time in the forest face to face with the pig head and where he came to understand that the only danger on the island is within the boys themselves...the dark and evil side of human nature.

These three boys are the ones who are targeted as the first to die--Simon, then Piggy, and if the fire set to draw Ralph out hadn't been so large bringing the Navy ship, Ralph would have been next. Without civilization, there is complete chaos, and yes, it could happen in our world if we lose focus on civilized discourse.  However, without being stranded on a deserted island, it would take a much longer time since there are so many who remember "the rules".

List and define the five parts of a plot.

atomljanovic,

When we describe plot, most students will say that it is, "When so-and-so-happens, then,...." But it is more than a series of  events.  It is a pattern of all of the things that pewrmit the story to continue.

It wasn't until Gustav Freytag (1816 - 1895), a German dramatist and novelist first described the structure for the way stories are told in ancient Greek and Shakespearean drama. He divided a play into five parts:

1. exposition
2. rising action
3. climax
4. falling action
5. resolution and denouement

The exposition contains all of the necessary background information that is needed to understand the story. This information can include the characters, setting, etc.. The dramatic situation is usually placed here-- the conflict underwhich the charactars are motivated and their obstacles they have to overcome.

The rising action is what happens before the climax. The rising contains complications--anything that changes the motivation or obstacles of the characters: another bad guy is introduced, the hero is cast adrift to deal with new problems, etc.

The climax is considered the highest point of interest of the story. This is where all the action of the story reaches a peak. It is usually the moment of greatest tension. The crisis can be considered the complication right before the climax, or can also be used as another name for climax.

Falling Action
The falling action deals with events which occur right after the climax. These events are usually the after-effects of the climax.

Resolution/Denouement
This is the end of the falling action and the conclusion to the story. Denouement comes from the French word, denoer, which meant "to untie". The denouement is the "unraveling or untying" of the plot.

In 1984, in which scenes is the political satire most apparent?

Political satire permeates George Orwell's 1984.  From virtually the first page of the novel, Orwell makes conscious references to the political realities of World War II and the period immediately following its conclusion.  In the opening chapters, Winston Smith, the protagonist and most apparent narrator of the novel, outlines the structure and function of the political apparatus at work in Oceania.  In doing so, he references the fact that under the Party, Oceania has undergone a series of "Three Year Plans" - nine of them to be exact.  This references Stalin's series of three "Five-Year Plans" to accelerate the industrialize the Soviet Union during the 1930s.  This specific reference serves one primary purpose.  The fact that Orwell references these measures - measures that resulted in the deaths of thousands upon thousands of people - signals to the reader that the Party harbors many of the same priorities as Stalin in the 1930s.  In addition, this reference relates Orwell's own feelings about Communism as a political system - specifically its oppressive tendencies.

The "Two Minutes of Hate," too, illustrates Orwell's political satire.  In the "Two Minutes of Hate," the Party targets an individual, citing that individual as an enemy of the state.  The enemy in this case is Emmanuel Goldstein.  Goldstein is said to have written inflammatory rhetoric against the Party and as such must be killed as a threat to the public peace.  The "Two Minutes of Hate" seeks to get the population to fall in line with the official Party policy (in a sense, this allows the Party to control the thoughts of the population through propaganda).  The fact that the enemy's name is Goldstein is not an accident.  Goldstein is most often viewed as a Jewish surname.  When taking this into consideration, the Party wants the population to direct its attention to Goldstein and those who support him.  This is a VERY thinly veiled reference to Hitler's use of the Jewish population as a scapegoat for Germany abyssmal economic and political situation throughout the 1920s and early 1930s.  Orwell, however, uses this example in a larger sense as well.  It illustrates how political leaders in totalitarian states seek to control their population - in this case focusing their attention away from the actions of the Party itself.

These are only two examples from the early chapters of the novel, but it is clear, even from these examples, how incidents and ideas in the text parallel the historical and political realities of the author's experience.  This tendency to integrate such realities into the references in the novel consistently appears throughout its pages.

Did Queen Elizabeth I face conflict during her reign?

There is no doubt that Queen Elizabeth I faced opposition and conflict as soon as she was placed upon the throne. From royal legitimacy, her religious beliefs, to her choice of a husband. (which she never decided upon) Elizabeth's reign was one that was under constant scrunity, however what made Elizabeth's reign so spectacular was her ability to perservere in the face of adversity.  Her father King Henry VIII set England upon unchartered territory for the sake of a male heir. His discontent with the Roman Catholic Church over a denied divorce from Catherine of Aragon led to Henry's break with the Roman Catholic Church. Although he had a living daugther with Catherine, Princess Mary was reduced to the status of Lady Mary while he pursued Anne Boylen. Henry and Anne had a daugther, Elizabeth who was exiled upon Anne's execution. It was not until his marriage with Jane Seymour that Henry restored the title of princess to his living daugthers. There can be no doubt that these actions effected the future Queen. Henry's marriage to Jane Seymour produced a son and as such Henry's line was secured. After Henry died his son became the new Angelican King, unfortunately he died during his teenage years. Upon his death Mary took the throne restoring Brtiain to Roman Catholicism. After she died there were several claims to the throne, Queen Mary of Scotland the cousin to Elizabeth and Philip II of Spain half brother-in-law to Elizabeth. When Elizabeth took the throne she was thrusted into the religious differences her country faced as well as the ill intentions of members of her own family. As Elizabeth grew into her status as Queen there can be no argument as to her ability, she defied all expections. Although she was successful in her dealings with her advisors and an uncanny judge of situation and character, her unmarried status presented a problem for the future of England.  She made several attempts to secure a rightful marriage on the advise of her Lords, however Elizabeth was an independent woman. Queen Elizabeth understood the importance of a suitable marriage, however detested the invasion of what she considered extremely personal. As the years passed Elizabeth continued to entertain potential candidates for marriage for the sake of protocol. There is some evidence that suggests Elizabeth did fall in love, however since he was not of royal birth she could not marry him. I do not think Elizabeth was ever really able to reconcile this, and as a result turned her efforts to her country. The true greatness of Elizabeth's reign came in 1588. Catholic Spain and The Spanish Armada set out to destroy  Protestant England and the Queen who was referred to as  'whore' by most of Catholic Europe. Elizabeth cared little for the name calling and faced her adverseries head on. She understood there was a chance that England might lose therefore it was up to her alone to inspire and motivate her soldiers. In that spirit she mustered the strength that had sustained her for so many years, she personally addressed her soldiers. The rallying speech she gave is considered one of the best in human history. Queen Elizabeth I was a leader, she demonstrated the leadership qualities that up until that time were mostly considered a King's quality. England defeated the Spanish Armada, and Elizabeth's Lords never questioned her marriage intentions again. The irony of Elizabeth's conflict lies in King Henry VIII quest for a male heir. Although he finally had a legitimate son, it would be his daugther who he banished from his presense, stripped a royal title, born of a mother he would convict and execute for treason that would be Henry's greatest legacy.

What is Tybalt's use of "heartless hinds" in reference to in Romeo and Juliet?

In the very beginning of Romeo and Juliet, Tybalt jests with an absolutely glorious pun!  Of course, the feud between the Montagues and the Capulets is in full fire, as members of both families fight in the streets.  Suddenly, Tybalt appears and spouts his first line:

What, art thou drawn among these heartless hinds? / Turn thee, Benvolio! look upon thy death. (1.1.65-66)

In Tybalt's very first sentence, he utters both a threat, an insult, and a pun!  (LOVE it!)  Generally, Tybalt is trying to provoke Benvolio into fighting by calling the Montagues "heartless hinds."  On the surface, "heartless hinds" simply means "timid servants" (an insult in itself); however, if one looks closer and discovers the etymology of the word "hart" and "hind," one discovers and even deeper grating comment in Tybalt's pun.  The word "heart" is a play on the word "hart" which means "a male deer."  The word "hind" in addition to meaning "servant" can also mean "a female deer."  Therefore, Tybalt is basically throwing the ultimate insult at the Montagues in that Tybalt is insulting their manhood:  "What, art thou drawn among these man-less women!?!"  Whew!  Does Tybalt know how to throw them, or what!?!

The poet has created an eerie setting in the poem "The listener". Explain details that suggest that the house was hidden by plants and grass.

The setting and mood of this poem can be exemplified with the language used to describe the almost subterranean feel of the house.  In the opening lines, the house is situated amongst a high level of "grasses" and a "ferny floor."  The turrets at the top of the house add almost an abandoned feel as a Bird flies out of it.  The window sill is "leaf- fringed", contributing to a feel of the home being immersed in plants and grass.  The desolate nature of humans in the house is enhanced by the "phantom listeners" and the "moonbeams on the dark stair."  It seems like plants and grass inhabit the home more than humans do.  This is heightened by the "lonely Traveller's call," which goes unanswered.  He waits for a response in the "leafy sky."  As the horse moves along the "dark turf," with the "sound of iron on stone," the author's imagination triggers the mind of the reader to envision a setting where humans are not and grass, plants, and the occasional phantom reign uninterrupted and undisturbed.

What were the conjectures of Wordsworth as he listened to the song and wondered about?

The poem is made up of four stanzas. In the first stanza, Wordsworth sets the scene for the readers. He asks us to observe the Highland girl busily reaping the ripe grain  and singing to herself. He asks us to pause and listen to the song which fills the entire valley,or quietly leave the place without disturbing her.

In the second stanza, Wordsworth tells us that  her beautiful song was more  refreshing than  the melodious song of the nightingale which welcomed the weary travellers as soon as they arrived at an oasis and that her song was more pleasing than the cuckoo's song which signalled the end of the harsh winter season and the beginning of spring.

Since Wordsworth could not understand Gaelic, the language of the reaper, he impatiently asks whether someone could tell him what she was singing about. By doing so he sparks our imagination as to what she could be singing about.

Will no one tell me what she sings?--

Perhaps the plaintive numbers flow

For old, unhappy, far-off things,

And battles long ago:

Or is it some more humble lay,

Familiar matter of to-day?

Some natural sorrow, loss, or pain,

That has been, and may be again?"

Soon,Wordsworth leaves the scene concluding  that although he could not understand what she was singing about nevertheless he could always remember the melodious tune of her song:"The music in my heart I bore/Long after it was heard no more."

Wordsworth wonders whether she is singing about the past - about some sorrowful incident of the past, like a defeat in a battle OR about some unhappy incident in the present which may be repeated again in the future. The important thing to remember is that whether it is the past, the present or the future Wordsworth is convinced that what she is thinking about is sad and sorrowful which is echoed in the melancholic tone of her melody.

The words 'single' 'solitary' and 'alone' have been foregrounded. 'Single' implies that she is the only person in the valley; 'solitary' hints at the melancholy mood of the poem and 'alone' refers to the fact that there is no one to assist her in her labours.

Why does Atticus defend Tom Robinson even though he's aware of the roadblocks he will encounter?

Simply put, Atticus has values and beliefs for which he is willing to fight, no matter what the circumstances. He is the moral compass of Maycomb. When the Tom's case comes to trial, racial tensions already evident explode in the town. The judge chooses Atticus for the case, perhaps knowing that it would be the only way for Tom to even have a shot at a fair trial.

Atticus, known for his strong character and commitment to honesty and justice, takes on Tom Robinson’s case, determined to give the man a chance at a fair trial. He could have passed it to someone else, but he knows he has a duty to complete. In doing so, he brings his family under the public scrutiny, a scrutiny which directs disapproval on him and on his children. Despite this, Atticus is unwavering in his determination to stand up for his beliefs. He is able not just to oppose injustice, but to see good in the very people who despise him. When Scout asks him why he is defending Tom, Atticus replies that if he didn't, he wouldn't be able to hold his head up among people. He also reveals that he knows they will lose, but he's determined to try anyway.

Although he knows he will lose, Atticus is determined to show the town that Tom is a human being with equal rights. His message does permeate the society: at the end of the trial, everyone in the courtroom stands in respect as he passes. Miss Maudie speaks of his courage, and the fact that he does a duty that no one else in town will do. This is reinforced by the food given in appreciation of Atticus' work.

In Shaw's Pygmalion, why does Liza allow herself to marry Freddy?

The tale of Pygmalion is an adaptation of the Roman legend of Pygmalion the sculptor found in Ovid's work Metamorphosis and, as Shaw mentions at the end of the Epilogue of Pygmalion, Galatea (the "flower girl" of Ovid's tale who was actually a sculpture brought to life) never does come to really like Pygmalion, according to Shaw, because he is too aloof and cold in a god-like fashion. Since Shaw is following this model, no truce is ever really called between Higgins and Liza, even though the real possibility of it develops in Act V prior to Eliza's reluctant departure to attend her father's wedding.

In this act, Higgins shows real sincerity and genuine feeling and rather eloquently tells Liza what he thinks of her, while nonetheless insisting that his behavior is fixed and unchangeable ("I cant change my nature; and I don't intend to change my manners"). However, Liza misses the import of Higgins' words ("I think a woman fetching a man's slippers is a disgusting sight") and insists that his view of her is that she is lowly and a convenient service for slipper-fetching.

Since she and Higgins can't come to any amenable resolution between them, and since Liza declares she doesn't want love from Higgins of the sort that Freddy gives her ("I want a little kindness. ...  we were pleasant together and I come--came--to care for you ... but more friendly like"), Liza will want to marry someone else. Being young and lovely and being pursued ardently by Freddy, despite the fact that he is incompetent because his mother couldn't afford his education (or wouldn't?), Liza marries him. In addition, Higgins' callousness and refusal to offer a recanting apology of the fashion Pickering offered causes Liza to decline to resume her residence on Wimpole Street, which eliminates the possibilities of Higgins finding a Duke or Earl to propose to his "Duchess."

How can Jimmy Porter in Look Back in Anger be judged as a Hamlet-like figure?

While it can best be argued that Shakespeare's Hamlet from Hamlet and Jimmy in Look Back in Anger are mostly unlike each other--particularly since Hamlet dies a tragic death and Jimmy doesn't--there are points that can be found that may be viewed as making Jimmy a Hamlet-like figure. The first is that both young men are motivated psychologically be their fathers' deaths. Jimmy's father died when Jimmy was ten. He had spent six months sitting by his father to keep him company while his father slowly died. Hamlet came home from abroad to find his father had been murdered.

Hamlet puts off taking action in the play because he debates existential questions with himself as he philosophizes and examines the rightness and wrongness of taking action in revenge and taking action on the say-so of a ghost who might be a demonic captive of Hell. Jimmy focuses on existential questions as they exist for young men in the mid-section of the twentieth century. In addition, both Hamlet and Jimmy are psychologically disturbed men who aren't wholly the masters of their emotions. Hamlet is melancholy and temperamental as with Ophelia while Jimmy is angry, judgmental, and abusive as with Alison.

An important difference between Hamlet and Jimmy that makes them unlike each other is that whereas Hamlet can't choose a course and act upon it, Jimmy has no trouble choosing courses and acting. Another difference is that whereas hamlet lacks personal fortitude, which keeps him from taking action, Jimmy consistently displays personal fortitude as when he "threw down the gauntlet" to Alison causing her to marry him.

What are the specific themes of "Mrs. Sibley," "Ernest Hyde," "Mabel Osborne," "Doctor Meyers," and "Frank Drummer"?I just can't seem to grasp the...

One idea to keep in mind when you're reading Spoon River is that it is a Modern American work; so you will often recognize the theme or elements of disillusionment with life, especially with American "simple" life.  Here are the themes:

1. "Mrs. Sibley"--she goes to her grave disillusioned with all that should be magical in life (stars, new growth, and relationships with the opposite sex).  Her last line,

"My secret: Under a mound that you shall never find."

implies that she feels she has gotten the last laugh, most likely at her expense.

2. "Ernest Hyde"--His epitaph's theme is the change in a man's view of the world as he ages.  In youth, he believes that all that he sees is truly the way things are ("My mind was a mirror"--line 1), but as one ages, reality sets in and "scratches" or mars one's soul. Masters writes that "a mirror scratched reflects no image."

3.  "Mabel Osborne"--She represents the longing of a soul to fit in and be adopted by its society.  She compares herself to the beautiful, thirsty geranium planted on her grave.  Throughout her life, she longed or thirsted for acceptance from her town; the townspeople recognized her longing yet did nothing just as they recognize the geranium's need but allow it to wilt.  Mabel is the person who has desires but is too timid to voice those desires or ambitions.

4.  "Doctor Meyers"--Again, the doctor's "last words" demonstrate disillusionment but of a kind different from Mrs. Sibley's or Ernest Hyde's.  He actually seemed to live a charmed life with a happy marriage, good children, and a fulfilling career.  Masters uses his character to show a version of fatalism--no matter how well someone lives, he does not control his ending.  Thus, the doctor tries to help someone, loses his reputation, his wife, and finally his life.

5.  "Frank Drummer"--He seems to be the village idiot to the people of Spoon River because he cannot verbally express all that his mind holds.  He dies at a young age, but ironically saw life as a "cell" and death as a "darkened space"--not much worse than his life.  For the postmodern reader, the theme from "Frank Drummer" is that people are not always what they appear to be and that often those who appear to be "simple" have the "clearest vision" of how life truly is.

Again, as you read Masters' poems, remember that each person is speaking from the grave and presenting a lesson about life.  That lesson is almost always negative because of the literary era to which Masters belonged.  I hope this helps!

How does Piggy behave or act in "Lord of the Flies"? (Character traits/ examples.)

As political allegory, the characters of "Lord of the Flies" represent some abstract idea of government.  Ralph represents the good-hearted, but not completely effective leader of a democratic society.  Piggy is his loyal adviser; he is not able to rule himself because of his physical shortcomings, but he can offer rational and logical advice to his leader for whom he cares deeply. On the other hand, Jack, who rules by hysteria and charisma, is the totalitarian leader who touches the emotional responses of his people.

That Piggy represents the rational side of the boys is evident by his introduction of the conch as the symbol for order.  He realizes that the need to build shelters is almost as important as keeping the fire going.  When Jack and the hunters threaten to prevent the others from reaching the fire on top of the mountain, Piggy suggests that they build the fire on the beach.  Piggy uses words such as "if there's something wrong, there's someone to put it right."  Always he appeals to the logical point of view. 

When Jack shouts, "Bollocks to the rules!" Piggy tells Ralph,

You got to be tough now.  Make 'em do what you want....If you don't blow [the conch], we'll soon be animals anyway.  I can't see what they're doing but I can hear.

When the hunters become more powerful, Piggy advises Ralph, "We just got to go on, that's all.  That's what grownup would do."  He always encourages Ralph whenever Ralph loses courage.  When Ralph hesitates,

But we must keep the fire burning.  The fire's the most important thing on the island, because, because--

Piggy answers for him, whispering urgently, "Rescue."  But, when Piggy is slain, Ralph becomes filled with self-doubt and anxiety as the hunters come after him.  Fortunately, he is rescued, but he

wept for the end of innocence, the darkness of man's heart, and the fall through the air of the true, wise friend called Piggy.

What are three examples of family relationships, friendship, or dreams/illusions in the play?I have to write an essay but can't find 3 examples for...

Dreams and illusions are a key theme of the entire play and there are certainly many references to dreams and in particular the tension between dreams and reality. Here are three examples that you could use:

Hermia at the end of Act II scene 2 wakes up having a nightmare of a crawling serpent on her breast. In this sense her dream is actually a prediction of what is to come:

Methought a serpent eat my heart away,

And you sat smiling at his cruel prey.

Of course, Act III scene 2 does show this - Lysander shows complete unconcern about what Hermia suffers when she encounters the perplexing situation of the lovers.

You will also want to look at the end of Act IV scene 1 when Bottom wakes up from his "dream". His soliloquy actually discusses the relationship between dreams and reality as he struggles to make sense of what has happened to him. He talks about how indescribable dreams often are because of their vivid nature, and how dreams are so fantastical that we cannot ever really describe them to do them justice.

Lastly, Puck's soliloquy that ends the play rather humorously suggests to the audience that if they are offended by the action of the play they can pretend it is all a dream, which raises questions about how we as the audience perceive the action and also if pretending it is a dream allows us to forget some of the more pertinent lessons that the play hopes to make: namely what fools we mortals are, especially when we are in love!

In "Once More to the Lake," why does White feel disconcerted that the road to the farmhouse has two tracks, not three?

"Once More to the Lake" is White's bittersweet story of returning to the fishing camp on the lake in Maine where he had spent a month each summer with his family when he was a boy. When White goes back to the lake, he takes his own son with him. Before arriving, he wonders what the lake will be like, now that so many years have passed:

I wondered how time would have marred this unique, this holy spot--the coves and streams, the hills that the sun set behind, the camps and the paths behind the camps.

Once there and settled with his son, White feels that being at the lake will be the same has it once had been. Being in the familiar place, doing the familiar things creates another feeling, as well. As he watches his son do what he himself used to do as a child, he envisions his son as the boy he used to be, and sees himself as his own father:

I began to sustain the illusion that he was I, and therefore, by simple transposition, that I was my father. This sensation persisted, kept cropping up all the time we were there.

This passage relates to the theme of time and its passing that is introduced in the beginning, and it will occur throughout the remainder of the essay. White's illusion is that time hasn't passed at all. White's illusion persists as he watches his son fish, just as he had once fished:

There had been no years between the ducking of this dragonfly and the other one--the one that was part of memory.

It is enhanced by the sight of other campers swimming in the lake, one batheing with a bar of soap:

Over the years there had been this person with the cake of soap, this cultist, and here he was. There had been no years.

"There had been no years" has become the primary motif in the story, until White and his son walk to the farmhouse for dinner and discover the two wagon tracks:

Up to the farmhouse to dinner through the teeming, dusty field, the road under our sneakers was only a two-track road. The middle track was missing, the one with the marks of the hooves and the splotches of dried, flaky manure. There had always been three tracks to choose from in choosing which track to walk in; now the choice was narrowed down to two. For a moment I missed terribly the middle alternative.

White is disconcerted to find only two tracks in the dusty road where three had once been because it jars his illusionary sense of the past's being preserved in this special place, his momentary peace in feeling "[t]here had been no years." The absence of the third track, a memory from his childhood, reminds him of the reality that years have passed and will continue to pass. His son will grow up, just as he grew up.

In the book To Kill a Mockingbird, which characters showed passion?(Love specifically) :)

I think that Arthur (Boo) Radley showed passion at the very end of the book when he saved the Finch children from the vengeful Bob Ewell.

Atticus and Heck Tate showed passion when they made the decision not to bring Arthur Radley out into the public eye as the town hero even though he deserved the honor.

Atticus showed the greatest passion and love of his fellow man in defending Tom Robinson in court. He stood on his values against overwhelming odds in his hometown. "Greater love, has no man, than he would lay down his life for his friends." (John 15:13) Atticus laid his career on the line in defense of Tom Robinson. He sat at the jail house at night knowing that a lynch mob would show up, yet he stayed right there.

Scout showed courage when she confronted the entire lynch mob by the recognition of one of her classmate's fathers. After a brief conversation, the lynch mob dispersed. Scout loved her father and knew that something bad was about to happen, and she had to do something about it.  She showed genuine kindness and neighborly love when she walked Boo Radley home after the heroic scene of saving the children's lives.

How is the title "My Last Duchess" fitting for the duke's attitude toward the duchess and women in general?

The title of Browning's poem is very appropriate because he is referring to his murdered wife while shopping for a new wife in front of the duchess' portrait. The poem develops and the reader chillingly implies that the duke gave the duchess "commands;/ Then all smiles stopped together;" in other words, he killed his wife or ordered her to be killed by someone else.

The duke accuses his dead wife of flirting with any "officious fool" whom offered her "cherries" while she rode around on a white horse. This could be contrasting innocence (white) and sexuality (red). He further explains that she "thanked men," implying her sexual prowess with many.  The Duke didn't believe that his wife was faithful, and he probably doesn't believe that beautiful women can be faithful.

In fact, the Duke believes that women are "object(s)" like his prized bronze artwork of "Neptune taming a sea-horse." The Duke is comparing women to both valuable art and a horse that needs to be broken. He hopes that his new wife will have a nice dowry like his first wife.

His objectified-female sentiments are obvious in that he adores the portrait more than the person the portrait represents. He sarcastically boasts "I call that piece a wonder, now" at the beginning of the poem. The piece is the portrait of the duchess, but also refers to her after death. She is appreciated as art post-humous, but not appreciated while living.

In A Separate Peace, what is Finny's theory about the war? How did his injury affect his feelings toward the war?

Gene's flashback begins in the summer of 1942, about six months after the United States entered World War II with the bombing of Pearl Harbor. The boys in the summer session at Devon are very aware of the war that waits for them after graduation. Finny is among them. However, after Finny breaks his leg in falling from the tree and as the school year wears on, he assumes a different attitude toward the war, declaring that there is no war at all. According to Finny, the war is a fake, a plot by the "fat old men" of the world to secure for themselves the best of everything that is being rationed for everyone else. Thus begins Finny's denial of the reality of World War II.

In keeping this illusion alive, he draws Gene into it. Finny tells Gene that since Finny can't participate in the Olympics of 1944, he will train Gene to take his place. The training begins during the winter. There will be no 1944 Olympics, of course, because of the war, but both boys work hard to keep Finny's illusion alive and reality at bay.

At the conclusion of the story, it is revealed that all the while he had been denying the reality of the war, Finny had been writing to every branch of armed services in the allied world, trying to find one that would accept him despite his injured leg. No military service would accept him, however. Finny couldn't stand that all his friends and school companions would go off to war, leaving him behind. He told Gene, "I will hate it everywhere" if he were left out, unable to participate.

Finny gives up his pretense that the war does not exist when Leper returns to Devon after deserting the Army. The psychological damage done to Leper in boot camp makes it impossible for him to continue the illusion. Gene relents, also, but he tells Finny he liked the world they had lived in better than the real one.

How does Poe’s story “The Fall of the house of Usher” resemble Stevenson’s “The strange Case of Dr. Jekyll and Mr. Hyde”? I need help...

Well, they both deal with people dealing with inner demons. In "Usher", Roderick matches the house (stately) but the inside matches him as well (crumbling, in disrepair). In Jekyll and Hyde, Jekyll is the outside of the man (respectable) while Hyde is the inner being (short, ugly, and violent). We see the decay and ruin through the eyes of an outsider narrator, and both end with the houses (Usher phsyically/mentally and Jekyll the same) coming crashing down. There is a sense of creeping horror, of madness coming from within to destory the good within man. Hope this helps.  

In Scene 7 of "The Glass Menagerie," there is a power failure at the beginning of the play. What does that mean both literally and figuratively?

In Scene 7, the power goes off because Tom has not paid the bill, having used the money to join the Union of Merchant Seamen.  With the electricity gone, candles are used to light the room, lending shadows, thus allowing reality to be transformed into illusion, which is the purpose of Expressionistic plays such as "The Glass Menagerie."  In the darkened corners of the room, shy Laura hides; however, Jim brings her out of these shadows by literally asking her to move, and by figuratively giving her some confidence in herself.

Light plays an important role in this final scene.  It lends an unearthly beauty to Laura, bringing out her fragile nature, and it suggests illusion.  Her virginal presence in white with the candles, suggests a religious ceremony.  Tennessee Williams's stage directions mention this symbolism:

JIM lights a cigarette and leans indolently back...smiling at LAURA with a warmth and charm which lights her inwardly with altar candles.

Over the light Jim handles the glass unicorn.  Laura tells Jim, "You see how the light shines through him?"  When they dance, Jim tells Laura "I'm not made of glass."  But, they bump into the table, knocking off the unicorn whose horn breaks.   Now, the unicorn is not odd; like Laura at this moment, he is normal.

As Jim and Laura sit and talk, they sip lemonade brought by Amanda, who spills it, saying, "Ooo! I'm baptizing myself!"  The religious symbolism continues with the lighted candles.  When Jim reveals that he is to be married, the stage directions make allude to this symbolism:

The holy candles in the altar of LAURA's face have been snuffed out.  There is a look of almost infinite desolation.

Then, while Tom as narrator looks in at Laura, he tells Laura that no matter how far he has gone, he cannot forget her; he runs to the movies, he drinks in order to "blow your candles out!" Tom tells her "Blow out your candles, Laura--and sogoodby..." She bends over the candles, ending the play.  The illusion is finished.

It is believed Mark Twain abandoned the manuscript of The Adventures of Huckleberry Finn for:no

According to "The Annotated Huckleberry Finn" by Mark Twain and Michael Patrick Hearn, Twain was already having a hard time wanting to do another "boy book." He had been working on suggestions made by friends on how the last part of Tom Sawyer should serve as sort of a prequel to the beginning of Huckleberry Finn. In the end, according to Twain himself, he was just tired of it, even quoting:

I like it tolerably well and may possibly pigeonhole or burn the manuscript when its done

Instead, he abided by his premise that "books write themselves" and, instead of burning it, he worked on other projects and did not pick up the book again for SIX years.

What did the boy mean in "Night" when he said that the soup tasted like corpses?

Because they had just witnessed a horrific execution, the prisoners could not even take satisfaction in meeting their basic needs--such as eating. Elie's friend feels that they eat at the expense of another (the executed), and figuratively, the sight of a young child dying leaves a bitter taste in their mouths.

Why did the conspirators fail in Julius Caesar?

The conspirators fail in Julius Caesar because they do not manage to take decisive control of popular opinion after their murder of Caesar. As Casca, one of the conspirators, notes, the crowd is extremely fickle and easily moved if its emotions are affected. For instance, regarding Caesar's fainting fit, Casca says:

When [Caesar] came to himself again, he said, if he had done or said any thing amiss, he desired their worships to think it was his infirmity. Three or four wenches, where I stood cried, “Alas, goodsoul!” and forgave him with all their hearts. But there's no heed to be taken of them; if Caesar had stabbed their mothers, they would have done no less. (Act I, Scene 2)

The conspirators know they must have popular approval -- this is why Cassius is so keen to get the support of Brutus. Again, Casca sums the matter up:

O, he [Brutus] sits high in all the people's hearts,
And that which would appear offense in us,
His countenance, like richest alchemy,
Will change to virtue and to worthiness. (Act I, Scene 3)

It is not in failing to recognize the need for popular approval, but in not knowing how to successfully get it, that the conspirators fail.

The most fatal manifestation of this failure is the conspirators' decision to not only leave Mark Antony alive, but to allow him to speak at Caesar's funeral. Cassius wishes to kill Antony:

I think it is not meet
Mark Antony, so well beloved of Caesar,
Should outlive Caesar. We shall find of him
A shrewd contriver; and you know his means,
If he improve them, may well stretch so far
As to annoy us all, which to prevent,
Let Antony and Caesar fall together. (Act II, Scene 1)

However, Brutus will not hear of it, thinking that this step is ignoble:

Our course will seem too bloody, Caius Cassius,
To cut the head off and then hack the limbs
Like wrath in death and envy afterwards;
For Antony is but a limb of Caesar. (Act II, Scene 1)

In the abstract, that might be a correct judgment, but the damage that the conspiracy might have taken from the ignoble assassination of Antony is probably much less than the damage the living Antony is able to do by whipping up the mob at Caesar's funeral.

Descibe the circumstances of Bartley's death in Riders to the Sea.

As the play begins, Maurya is a poor Irish woman who has lost her husband, her father-in-law, and her first four sons to the sea. Her fifth son Michael, also feared drowned, has been missing far too long to hold out hope for his return. Her youngest and only remaining son, Bartley, plans to take two horses (a mare and a pony) to market, which will require that he must also go into the sea. Bartley must ride the mare and lead the pony through the waters to reach the ship anchored off shore that will deliver the animals to the market. Maurya begs him to stay, fearing that she will lose her last son. Bartley insists. Their harsh poverty drives him in his actions. As he leaves, his mother cannot give him a blessing, but he blesses her.

In the play's tragic conclusion, while Maurya is being persuaded that Michael is indeed dead, word comes to her that Bartley has been drowned trying to reach the ship with his horses. Maurya has now lost all the men she loved to the sea. Having no more sons to lose, she finds an ironic peace as she blesses Bartley's body with Holy Water and prays for God's mercy.

In Of Mice and Men, whom does Candy blame for the murder? Why is he so angry at what has happened?

When Candy finds the body of Curley's wife, he goes immediately to find George and bring him back to the barn. When Candy realizes that Lennie is responsible for the woman's death, he does not blame Lennie. He only shows concern for him, warning George as to how Curley will react. When George leaves the barn, Candy's anger is directed at the dead woman. He blames her for what has happened:

He looked helplessly back at Curley's wife, and gradually his sorrow and his anger grew into words. "You God damn tramp," he said viciously. "You done it, di'n't you? I s'pose you're glad. Ever'body knowed you'd mess things up. You wasn't no good. You ain't no good now, you lousy tart."

Candy is filled with anger because with the woman's death, all dreams of the farm have died, also. At first, he hopes that he and George can "get that little place," but it quickly becomes clear to him that it will never happen. He is filled with grief for what has been lost:

I could of hoed in the garden and washed dishes for them guys . . . . An' they'd of been a pig and chickens . . . an' in the winter . . . the little fat stove . . . an' the rain comin' . . . an' us jus' settin' there.

When Candy leaves the barn, his eyes are "blinded with tears."

How did Sylvia Plath treat the theme of Feminism in her poetry? quotations would be helpful

Sylvia Plath, an American author considered one of the most emotional writers of the post war period, was a deeply troubled individual who committed suicide at the age of 30.

"A complicated literary personality whose biography is nearly impossible to disentangle from her writing, Plath has often been regarded as a confessional poet, though her deeply personal lamentations often achieve universality through mythic allusion and archetypal symbolism."

Focusing on feminist issues through the lense of her own experience, she was equally driven by a desire to achieve while coping with a desperate lack of self-confidence and low self-esteem. The loss of her father at an early age contributed to her fears of abandonment and insecurity.

"Viewed as a cathartic response to her divided personae as an artist, mother, and wife, Plath's works have been heralded by feminist critics for illuminating the personal and professional obstacles faced by women in the mid-twentieth century."

Plath, a talented poet and writer, living in an era that defined a woman's role, in a male dominated society, felt confined by a society that demanded she be a Barbie doll.  Pushing against this demand, and the personal struggles resulting from a cheating husband, drove her over the edge.

Plath struggled with feelings of inadequacy and was viewed as a victim after her death by critics.  Struggling with psychiatric issues most of her life, her genius was almost extinguished before it had a chance fully flourish. She felt inadequate, insulted by the constraints of society and she wrote about them in "Ariel," where she speaks for all women, a startling feminist view, lashing at the patriarchal order.

"Now your head, excuse me, is empty.
I have the ticket for that.
Come here, sweetie, out of the closet.
Well, what do you think of that?
Naked as paper to start

But in twenty-five years she'll be silver,
In fifty, gold.
A living doll, everywhere you look.
It can sew, it can cook,

It can talk, talk, talk." (Plath)

If she had lived in a later era, not in the 1950s or 1960s, and struggled with her identity as a wife and mother, would she have been able to survive the tragic circumstances of her life?  Maybe she would not have felt so hopeless, maybe she would not have felt compelled to commit suicide at the age of thirty leaving behind her children? Constantly fighting her own feminist battle, Sylvia Plath never escaped the childhood trauma of losing her father and the need to please him.

Plath, in her writing, and in her life struggled with her need to be loved and accepted as a woman and her need for solitude to write, think and create.  Battling against each other, she wrote about them in her journal.

JOURNAL ENTRY November 7, 1959, Saturday.…

"Dangerous to be so close to Ted day in day out. I have no life separate from his, am likely to become a mere accessory. Important to take German lessons, go out on my own, think, work on my own. Lead separate lives. I must have a life that supports me inside. This place a kind of terrible nunnery for me. I hate our room: the sterile white of it, the beds filling the whole place. Loved the little crowded Boston apartment, even though J. Panic visited me there." (Plath)

What are the different precautions that should be taken by a job seeker while attaining interviews?

I have attached some websites that should help in both preparation for the interview and in the actual interview, as in some countries, attaining the interview is as important as the interview, itself.  From my end, I think that the job seeker must understand as much as possible about the job and the organization to whom they are trying to obtain the interview.  It is up to the job seeker to make the case that they are the "perfect fit" for this post and the organization.  This will involve some research and some study.  The first thing the job seeker should do is to make sure they are qualified to work at both the job and the organization.  Sometimes these questions are rather open and apparent:  Do I have the skills for this job?  Have I had the right training for this position?  Have I clearly indicated on my resume that I am a match for this job?  Other times, these questions are not so obvious:  Can I get to this job on time every day?  Am I able to commit myself to this position and organization?  Taking these precautions will be able to resolve them before a prospective employer will have to do so. One trick that seemed to be obvious upon reflection is the idea of the job seeker being able to summarize they qualifications in a short and concise statement that can resonate in the mind of a prospective employer. I have noticed that kids coming out of college have a tendency to be too verbose and talk far to much without saying much of anything.  This might be due to the fact that they have just come out of the college training and have been indoctrinated in the theory so much, that speaking about it comes as a reflexive action.  However, in the business world, the theoretical foundations are of equal importance (if not less) to the practical applications of making an impression.  Being able to summarize in concise and direct statements how a job seeker matches well could be a vital precaution and something that must be done.  This could involve knowing your resume and your background and being able to pitch one or two vital elements in it.  It might also consist of knowing something about the organization and matching up your vitals to it.

In attaining interviews, the job seeker has to do the best job possible of distinguishing themselves in a positive way from others.  Competition for any job, especially in this current economic climate, is fierce.  How will the job seeker distinguish themselves from other candidates in procuring an interview?  This might involve appearance and professional attire, personal presence in meeting prospective employers, and ensuring that one's credentials have been organized in such a manner that it is apparent that this particular candidate is worthy of an interview.

In "Romeo and Juliet", who dies? Who gets arrested? Does Friar Lawrence get arrested?

There are several deaths in Romeo and Juliet, Mercutio is killed by Tybalt and then Romeo kills Tybalt.  These deaths contribute to the ongoing feud between the houses of Montague and Capulet.  Mercutio is of the Montague house and Tybalt is of the Capulet house.  Of course, both Romeo and Juliet both die, as a result of their miscommunicated plan.

Friar Lawrence's message to Romeo never arrives, therefore, Romeo believes that his love, his wife, Juliet is dead, and he kills himself by drinking poison,  to join her.  When Juliet awakens from her death-like sleep, she sees that Romeo is dead and tries to drink the rest of the poison, but kills herself with his dagger.

There are four deaths all together, each triggering an event that contributes to the ultimate tragedy, the death of the two young lovers.

Friar Lawrence is not arrested, no one is arrested, the Prince attributes the deaths to the families inability to get along.

"After the bodies of Romeo and Juliet are discovered, the friar offers the prince a summary of what has happened. Having confirmed the story with Romeo's letter to his father (delivered by Balthasar) the prince absolves the friar of wrongdoing, calling him a "holy man" (V.iii.270), and blames the feuding families for the deaths of Romeo and Juliet."

What are the types of characterization in "The Scarlet Ibis"?

Since "The Scarlet Ibis" is told by a first-person narrator, we learn about the characters through his eyes. In telling the story, he tells us what the various characters said and did; he also gives us information directly from his understanding and interpretation of the characters. Most of all, in telling the story he reveals himself. We can assume that the narragor is reliable because many times he does not cast himself in an admirable light. He tells us, for instance, that there was a "knot of cruelty" within him, and he describes in detail at least two occasions when he tormented and abused his little brother--the first when he tried to make Doodle touch his own coffin, and the second when he abandoned him in the swamp during the storm. 

Two scenes are especially effective in developing characterization. When Doodle buries the dead ibis, a little boy with the big shovel, his family stays inside the house and laughs at him through the window. These actions themselves reveal a great deal about the characters in a manner that is far more emotionally powerful than numerous paragraphs of exposition. Also, in the story's conclusion, the narrator holds his little brother's body and screams his name into the storm; he holds Doodle for a long time, trying to shield his body from the rain. The narrator is shown in this scene to be far more than proud and spiteful; he is capable also of deep love and suffering.

How is Young Goodman Brown changed by his experience in the forest? Does the narrator endorse Brown's unwillingness to trust anyone?

As the question implies, Goodman Brown is changed to the point tht he trusts no one and is haunted by his experiences.  He questions the reality of what he has seen, but cannot get the images and revelations out of his mind.

It seems apparent that the narrator does not endorse Goodman Brown's attitiude that he adopted after his encounter in forest.  The ending line tells us that Goodman Brown's dying hour is misery.  Thus, he never overcame the literal and figurative demons of that night.

In Chapter 5, I need to analyze the symbolism of Gene trying on Phineas's pink shirt. I am really confused!

If you read that section of Chapter 5 carefully, you will notice that Gene does not simply put on Finney's pink shirt, but that he puts on all of his clothes.  The pink shirt is the final piece of clothing he dons.

Now, think about all the expressions we use about people's clothing.  For example, we say, "The clothes make the man," or "Try walking a mile in his shoes."  We also make reference to a "wolf in sheep's clothing."  All of these are metaphors for the idea that we are what we wear.  Of course, that is not exactly true all of the time, but don't you feel like a different person when you get all dressed up for a fancy event?

Let's get back to Gene and Finney now.  Finney's leg is "shattered," and Gene is responsible for this because of what he did on the tree branch.  What are Gene's feelings about Finney?  His feelings about Finney are quite complicated. He admires Finney, and he envies him, too.  He admires Finney so much he would like to be Finney, and his envy makes him want to be Finney, too.  At the very least, he would like to know what it feels like to be Finney, since Finney has so many qualities he does not have. These are some of the emotions that Gene is experiencing as he puts on Finney's clothes.  If he puts on the clothes, perhaps he will be Finney.  And he tells us, "I was Phineas, Phineas to the life" (62).  The other emotion Gene is experiencing, of course, is guilt because he is responsible for Finney's fall.  Perhaps, if he can "become" Finney, he can replace him and this will atone for what he has done.

So, you see, like all human beings, Gene has complicated emotions that cause him to do things we might consider odd if we did not know the whole story.  Sometimes we do not even understand ourselves why we do things. But as we read this novel, we can see the "big picture" and understand why Gene acts as he does.

What are some symbols or metaphors and what are their meanings in the story?

Perhaps the most salient symbol in "The Count of Monte Cristo" by Alexandre Dumas is the little red purse that originally belongs to Edmund Dantes father.  This purse originally contained money that was given by Monsieur Morrel to Dantes's poor father after Caderousse extorted everything from the man. After his return to Marseilles, Dantes recovers the purse and later fills it with a gem that will pay a debt which Monsieur Morrel now owes.  In essence, however, Dantes has repaid his debt to Morrel. When Morrel recognizes the old purse, he is puzzled how the donor has been in its possession. 

Some interesting images are evoked by Dantes himself with his reflection from Chapter IV, "The Betrothal Feast":

Joy has that peculiar effect that at times it oppresses us just as much as grief.

When Danglars asks Dantes if he is anticipating trouble, the young man replies,

I cannot help thinking it is not man's lot to attain happiness so easily.  Good fortune is like the palaces of the enchanted isles, the gates of which were guarded by dragons.  Happiness could only be obtained by overcoming these dragons, and I, I know not how I have deserved the honour of becoming Mercedes's husband.

similes:   He [de Villefort] was astonished at her[Mercedes] beauty and dignity, and when she asked him what had become of him whom she loved he felt as though he were the culprit and she his judge....Embarrassed by the straight look she gave him,...he pushed by her...Like the woounded hero of Virgil he carried the arrow in his wound.

In Chapter 5, what is Simon referring to when he says..."...maybe it's only us that we're afraid of"?

What Simon knows, and the rest have yet to discover, is the magnitude of Jack and his gang's savagery. When he says "...maybe it's only us that we're afraid of” he means that maybe we know that there isn’t a beast, but it’s easier to fear the beast than it is to face the reality that we’re actually afraid of each other.

Simon is trying to convince the boys that they do not need to fear the beast. Simon knows that Jack created the beast to make the members of his gang fearful. By instilling fear, Jack tries to make himself out to be a better leader than Ralph by offering his protection from the beast.

In "Fahrenheit 451" what do the people in hiding at the end of the novel do and why do they do it?

The people in hiding were the ones that Montag ended up with.  They greet him and include them in their circle, because they too are outcasts that have been ostracized from their communities.  Montag joins up with them, and it isn't much later that the bombs take out the entire city.  Everyone and everything in the city is pretty much destroyed, which leaves Montag, Granger, and their clan of outcasts as the only survivors.  It is up to them to decide what to do.  They could leave, walk away, and find someplace new to live their lives as they want to, or they could stay, go into the city, and help whatever survivors exist there to rebuild.  They could try to make a positive impact on the recovery, and try to rebuild things better, using what they have learned about how dysfunctional their society was before.

So, they choose the latter.  They choose to go back to the city and to rebuild it the right way.  And, they take the wisdom gleaned from all of the books that they have memorized.  They each bring their own memorized portion, that will help them to remember how to do things the right way.  Granger states of their mission,

"We're going to meet a lot of lonely people in the next week and the next month and the next year.  And when they ask us what we're doing, you can say, We're remembering.  That's where we'll win out in the long run."

He goes on to say that hopefully they can remember enough to bury all of the past's mistakes and rebuild a better society.  So, they head off to the city, and that is where Bradbury chooses to end the book, with you imagining the good that they will do when they reach it.  I hope that those thoughts help; good luck!

Give a few examples of symbolism in the novel "Animal Farm."

The three prominent symbols in Orwell's "Animal Farm" are:

1. The Farmhouse: symbolises the power equation  which governs the relationship between the pigs and the other animals on the farm. From the beginning of the novel to the end, the farmhouse is occupied by the people or animals that run the farm. After the rebellion, the pigs gradually become the leaders of the farm and relocate themselves in the farmhouse. "It was about this time that the pigs suddenly moved into the farmhouse and took up residence there." (Orwell, 45) This shows how higher authority is centred  in the farmhouse and how the pigs slowly take control over the farm. Not only is the farmhouse used for the pigs' residence, but it is also a place of social gathering with humans. "There, round the long table, sat half a dozen farmers and half a dozen of the more eminent pigs, Napoleon himself occupying the seat of honor at the head of the table." (Orwell, 91) The farmhouse is the location where the pigs break all the commandments and alter them to suit themselves. They do this by drinking whiskey, trading with humans, wearing Mr. Jones's clothes and sleeping in beds with sheets.

2. The windmill:  In "Animal Farm," the windmill is a symbol showing the tremendous power of the pigs and their amazing ability to manipulate the other animals. The windmill is first brought to everyone's attention by Snowball who researches on how to build one and draws out the plans. While this occurs, Napoleon slowly takes full control over the farm by eliminating Snowball. He does this by convincing all the animals that the windmill is a poor idea and eventually, Napoleon's dogs scare Snowball away. After Snowball vanishes, Napoleon confesses that the windmill is his idea and Snowball is a corrupt animal that should be disposed. "Napoleon had never been opposed to the windmill on the contrary, it was he who had advocated it in the beginning," said Squealer. (Orwell, 39) This shows how Squealer uses his ability to manipulate the other animals to think highly of Napoleon, while despising Snowball.  The construction of the windmill shows the manipulative power of the pigs at its best. The pigs do not help the other animals at all and the animals work very long hours; receiving very little food while the pigs eat all of it. After the destruction of the windmill, the pigs convince the other animals that it is in fact Snowball who destroys it. The pigs try to make Snowball look guilty and they want the working animals to dislike Snowball at all costs. "Snowball was in a league with Jones from the start! He was Jones's secret agent all the time," said Squealer. (Orwell, 53)The windmill is a powerful object that is a symbol of manipulation to show the pigs' control over the other animals.

3. The Seven Commandments: the seven commandments are extremely symbolic due to the fact that they illustrate both the manipulation in "Animal Farm" and the differences between the pigs and the working animals. At the beginning of the novel, the pigs combine their ideas to form a list of seven laws that all the animals would live by. "The sevencommandments would be inscribed on the wall; they would form an unalterable law by which the animals must live by forever," said Snowball. (Orwell, 15) As the story progresses, the pigs, in particular, Napoleon, distort the commandments to suit their own selfish interests. An incident of this occurring is when Napoleon changes the commandment about drinking.

Muriel, reading over the seven commandments to herself, notices that there was yet another of them which the animals had remembered wrong...'No animal shall drink alcohol, to excess!' (Orwell, 73) She however, states that she does not remember thecommandments correctly because of how Squealer manipulates all the animals to think that it will benefit them and the farm as a whole. Squealer informs them that he has evidence and the animals must not be smart enough to remember correctly. The animals do not question this fact because they know that the pigs are more intelligent. The last commandment that stands on the wall explains greatly how pigs are a higher authority than the rest of the animals. "For once Benjamin consented to break his rule, and he read out what was written on the wall-All animals are equal. Some are more equal than others." (Orwell, 90) The pigs show their great power of manipulation and emphasize their superiority over  the working animals by involving themselves in the destruction of the commandments from the very beginning itself.

What is the meaning of Carl Sandburg's poem "Iron"?

The meaning of Carl Sandburg's poem "Iron" is that even though instruments of war may be beautiful and romantic, and may excite the young men serving in the military, they are indivisibly connected with death and destruction.

The first stanza, which is almost a shape poem in that it builds out like a gun jutting from the side of a ship, emphasizes the joy the "jackies" (common sailors) feel in serving the "war god" and his shining instruments:

Glory of tan faces, tousled hair, white teeth,
Laughing lithe jackies in white blouses,
Sitting on the guns singing war songs, war chanties.

The next verse, much shorter, turns to another impliment of iron, the shovel. The allusion it has to make is indirect, requiring the reader to think for a moment and so increasing its impact:

Shovels,
Broad, iron shovels,
Scooping out oblong vaults,
Loosening turf and leveling sod.

The key here is "oblong vaults" -- these must be graves, by implication for the "laughing lithe jackies in white blouses" after they have been killed in battle. Thus, the final line, "the shovel is brother to the gun" means that war, no matter how romantic its tools may seem, inevitably entails death.

With whom has Dr. Manette been staying since his release from prison in Tale of Two Cities? In what activity does his hostess constantly engage?

Since his release from prison Dr. Manette has been staying with Ernest and Therese Defarge.  His hostess, Madame Defarge, is constantly knitting.

The Defarges own a wine-shop in the Paris suburb of San Antoine.  Ernest Defarge had formerly been a servant of Dr. Manette, and when Dr. Manette was released after eighteen years in prison, Defarge had been asked "to take him, and at (Defarge's) peril, be discreet".  Dr. Manette, whose mind has been affected by his long imprisonment and who has lost touch with reality, is being kept in a locked room above the wine-shop.  It is to this room that Defarge escorts Mr. Lorry and Lucie Manette when they arrive at the wine-shop to retrieve the old doctor.

Therese Defarge, a formidable, woman, is constantly knitting.  She sits "with a watchful eye that seldom seem(s) to look at anything...and great composure of manner".  She knits "with nimble fingers and steady eyebrows", communicating with her husband with gestures in code.  The Defarges are leaders of the coming revolution.  Monsieur Defarge coordinates the activities of a number of clandestine characters, all called "Jacques", and his wife weaves the names of those targeted for death into her knitting (Book the First, Chapter 5).

What blinds Roderigo to fact that Iago is using him in "Othello"?

It is Roderigo's own desires that blind him.  Iago persuades him by convincing Roderigo that Desdemona can truly be his.  He sets up Roderigo as the "rightful" suitor of Desdemona, and Othello as the interloper.  Because Roderigo so wants Desdemona, he easily believes Iago's lies and goes along with Iago's "plan", believing that he will be rewarded with his love.

Here is the speech:

It cannot be that Desdemona should long continue her love to the Moor—put money in thy purse—nor he his to her. It was a violent commencement, and thou shalt see an answer-
able sequestration; put but money in thy purse. These Moors are changeable in their wills:—fill thy purse with money. The food that to him now is as luscious as locusts, shall be to him shortly as acerb as the coloquintida.  She must change for youth; when she is sated with his body, she will find the error of her choice. She must have change, she must; therefore put money in thy purse. If thou wilt needs damn thyself, do it a more delicate way than drowning. Make all the money thou canst. If sanctimony and a frail vow betwixt an erring barbarian and a supersub-
tle Venetian be not too hard for my wits and all the tribe of hell, thou shalt enjoy her; therefore make money. A pox of drowning thyself! It is clean out of the way. Seek thou rather to be hanged in compassing thy joy than to be drowned and go without her.

Iago tells Rogerigo that Othello, being a Moor, will quickly abandon his wife.  He tells Roderigo that Desdemona doesn't really love Othello and will give him up for "youth".  He suggests that Othello is a barbarian, and so the vows are "frail".  Iago is playing upon the racism of the time, suggesting that Othello is less than a man because he is black.  Roderigo wants to believe, and so easily does.  Iago cleverly confirms what Roderigo is already thinking.

What is clever is that Iago intermixes the suggestion that Roderigo get rich with the idea that Roderigo is destined to be with Desdemona.  Roderigo should raise money to lure Desdemona, Iago suggests.  Really, though, Iago is going to be the one to benefit from the riches.

How do friendship, love, money, and marriage overlap in the play of The Merchant of Venice?

Shakespeare discusses love, marriage, friendship, and money in The Merchant of Venice through the play's three plots.

The first plot--the bond plot--focuses on friendship and money (two elements that should not mix according to Shakespeare).  In the bond or contract plot, Bassanio who has squandered his wealth approaches his friend Antonio for funding for his quest for Portia's hand in marriage.  Antonio acting as a loyal but somewhat foolish friend agrees without hesitation to loan Bassanio the money, but he does not actually have the money to do so at the time and must ask Shylock for a loan.  The unwise contract that Antonio enters into with Shylock requires a pound of Antonio's flesh if he cannot pay back Shylock within the allotted time.  At the conclusion of this plot in Act 4, Shakespeare portrays the strength of Antonio and Bassanio's friendship and issues a warning against entering into foolish monetary deals.

The second plot, the casket plot, involves Bassanio again and Portia. Through this plot, Shakespeare demonstrates his views on marriage and love. Portia, an independent woman, chooses to obey her dead father's wishes and allow the casket scenario to determine whom she will marry.  By doing so, Portia gets to marry the person she would have chosen--Bassanio--and can rest in the knowledge that her future husband made a wise choice based on thought rather than appearance. This plot also allows Shakespeare to promote the idea that happiness ensues if children abide by their parents' wishes when it comes to marriage choices.  Jessica's troubles result in part because of her deceiving her father.

The final plot, the ring plot, while not as strong as the other storylines does present love, friendship, and marriage.  Portia and Nerissa must deal with marital issues when their husbands give up rings that they promised to keep forever. Portia proves her love for her husband by forgiving him and by settling the bond plot.

Why is Douglass surprised by New Bedford in Narrative of the Life of Frederick Douglass?

New Bedford is far more wealthy and refined than Frederick Douglass had imagined, and he is astonished to discover that many of the "colored people" who lived there have "finer houses, and...(enjoy) more of the comforts of life, than the average of slaveholders in Maryland".

From having lived in the South all his life, Frederick Douglass had developed the misconception that rich people owned slaves, and that those who did not could not afford him.  This was a logical conclusion because all the rich plantation owners owned slaves, while the poor whites, who were "exceedingly poor", did not.  Douglass had somehow "imbibed the opinion that, in the absence of slaves, there could be no wealth, and very little refinement".  With this in mind, he had expected "to meet with a rough, hard-handed, and uncultivated population" upon coming to New Bedford, which, being located in the North, is a place where there is no slavery.  Douglass is awestruck when he finds himself in that city, surrounded by "ships of the finest model, in the best order, and of the largest size", and warehouses filled "to their utmost capacity", the "strongest proofs of wealth" he can imagine.

Everything about New Bedford "look(s) clean, new, and beautiful".  The people look "more able, stronger, healthier, and happier" than those he had seen in Maryland, and, in contrast to the loud and rough workingmen in Baltimore, they toiled "noiselessly", with "a sober, yet cheerful earnestness, which betokened the deep interest which (they) felt in what (they were) doing, as well as a sense of...dignity".  Douglass is ceaselessly amazed at the "amount of wealth, comfort, taste, and refinement" he finds in the Northern city.

Most astounding of all to Douglass, however, is the discovery that the "colored people" in the city, many of whom, like himself, have only recently escaped from lives of bondage, have managed to secure a standard of living for themselves that is in his eyes completely remakable.  Douglass cites the example of an acquaintance who "live(s) in a neater house; dine(s) at a better table, (takes, pays) for, and read(s) more newspapers, better under(stands) the moral religious, and political character of the nation, than nine tenths of the slaveholders in Talbot county Maryland" (Chapter 11).

Why is Friar Lawrence responsible for the deaths of Romeo and Juliet? Three quotations would help."Romeo and Juliet" by Shakespeare

Friar Lawrence in "Romeo and Juliet" is responsible for the deaths of Romeo and Juliet for these three reasons:

1. Friar Lawrence meddles in the feud between the Capulets and Montagues by marrying the two lovers.  In doing so, he seeks to unite the families; however, dissension increases when in Act III Romeo enters and seeks to callm the tensions. He tells Tybalt,

I see thou know'st me not/....I do protest I never injured thee,/But love thee better than thou canst devise/Till thou shalt know the reason of my love (III,i,54-59)

Tybalt interprets Romeo gestures and words as mockery of him, "Thou shalt not excuse the injuries," and tells Romeo to fight.  This is the first of the "peace-making" efforts initiated by Friar Lawrence that fail.

2.  Of course, it is Friar Lawrence's idea that Juliet take the vial in Act IV in order to get her family to forget about Juliet's marriage to Paris. And, had he not married Juliet and Romeo, Juliet would not have been so desperate as to enter the cell of the friar and ask for help.  Friar Lawrence tells her,

And this distilled liquor drink thou off,..../In the meantime, against thou shalt awake,/Shall Romeo by my letters know our drift,/And hither shall he come. (IV,ii,115)

3. However, Romeo unknowingly arrives at the grave of Juliet and believes her dead because Friar Lawrence fails to get his message to him that Juliet only sleeps.  Rashly, Romeo kills himself; Juliet wakes to find him dead, and succeeds in killing herself because Friar Lawrence would not stay and prevent such an act.  Instead, he uns off when he hears the guards coming,   "Come, go, good Juliet, I dare no longer stay." His cowardice causes Juliet's death.

How could I separate a mixture of salt and sugar?

Separating a mixture of salt and sugar is actually quite easy. Athough sugar is soluble in any type of alcohol, salt on the other hand is not. If you want to separate the two, first mix both salt and sugar in any type of alcoholic beverage. Once you do that, if you now filter the beverage, you will be able to obtain the salt. However, since the sugar is soluble in alcohol, you need to obtain it in a different manner.

Once you have filtered the beverage and gotten the salt, evaporating the alcohol and sugar mixture will leave you with the sugar. After both filtering then evaporating, you will be left with the separation of sugar and salt that you started with.

What is the differences between how the littluns and the biguns act when they're on the island?I KNOW WHAT I WANT TO SAY BUT IDK HOW 2 WORD IT SO...

The littluns function almost as one character, with very few individuals identified by their own names. One exception is Percival Wemys Madison, of the Vicarage, Harcourt St. Anthony, Hants, as he has been taught to introduce himself. Percival is the smallest littlun. He serves a gauge by which the savagery of the boys is measured. The less he remembers of his name and address, the further they have drifted from civilization. Another littlun that is identified is the boy with the mulberry birthmark. However, he exists only to remind the boys of the dangers they face, disappearing one night soon after they arrive on the island.

In general, the littluns behave as one might expect young kids to behave. they play in the sand, eat until they're sick, and follow the older boys around without ever really helping. Some of the bigguns even consider them a burden, because they fear "the beasty", but cannot do anything to protect themselves.

The bigguns attempt to behave like rational adults at first. They prioritize needs, looking for food, lighting a fire for a rescue signal, and attempting to build shelter. However, their fragile social system quickly breaks down, and each by turns to his own pursuits. Jack and Roger lead the hunters, imposing a violent structure of punishment on those who do not obey. Ralph and Piggy attempt to keep order, trying to sustain the signal fire & build shelters. And Simon tries to warn the others of the consequences they face through their actions.

A college student has just purchased a new PC. What factors might cause the student to experience post dissonance?How might the student try to...

From a student's point of view, the dissonance post purchase might be economic (having spent too much money) or the belief that the PC will be obsolete, given advances in technology.  Yet, there are many ways to overcome this post purchase dissonance.  The computer manufacturer can play a large role in this with offers of discounts on upcoming upgrades, or involvement in some type of online market.  For example, when purchasing an iPod, an immediate subscription to iTunes accompanies.  The weekly updates from iTunes, as well as access to an online library of music, movies, and videos that can be purchased offsets dissonance because of the constant upgrades and additions to the original purchase, making it seem "new" again.  This can be done with the PC situation through upgrades or some type of online membership for a nominal fee, or even featuring free access for a trial period.  Additionally, intermittent communication that reveals new aspects of the PC purchased can allow the student to feel that a "new" portion of the purchase has been discovered.  The manufacturer has to "key" or "trigger" the original reservoir of excitement or passion about the purchase.  Perhaps they will not be able to initiate all of this zeal, but being the catalyst for some of this enthusiasm can help to offset the feeling of post purchase dissonance.

The retailer might follow the same course of action.  Offering weekly tutorials regarding the PC (in person at the store or via webcast) might be one way to emphasize the idea that the product has more element that can be revealed on further reflection.  Additionally, offering discounts on hardware, accessories, or "plug- ins" that are needed could help offset dissonance.  For example, the store could offer free "skins" for the laptops as protective covers.

The student might have the toughest task to overcome it because of the rationalization that has to be endured.  They will rationalize it as initial buyer's remorse.  Given the product being essential to student life, this might be alleviated with consistent use.  If the PC has an active and strong internet connection, the student will be able to offset this static condition with the dynamic and fluid nature of the web.  Additionally, the student might use the PC for multiple functions:  Work related items, entertainment, or gaming alternatives, to name a few.  Interacting with the product on these different and divergent levels might allow the dissonance to subside a bit.  Finally, purchasing upgrades and proper maintenance of the product (virus scans, software and hardware/ plug in enhancements) will increase the capability and capacity, offsetting dissonance to a certain extent.

What do the newspapers call Loretta Lee in Freak the Mighty?

The newspapers call Loretta Lee "the Heroic Biker Babe" (Chapter 21).

Loretta Lee is a tough-talking, "scrawny, yellow-haired woman with small, hard eyes and blurry red lips" who lives in the Testaments, a housing project where "poor people...and dope fiends" reside.  She is the girlfriend of Iggy, a "big hairy dude...(with) a huge beer gut and these giant arms all covered with blue tattoos and...a beard that looks like it's made out of red barbed wire".  Iggy is "the boss of The Panheads, this bad-news motorcycle gang", and both he and Loretta know Kenny Kane, Max's infamous father, who is in jail.  Max and Kevin meet Loretta when they find her purse in the sewer, and attempt to return it to her (Chapter 11).

When Max is kidnapped by his father and tied up in an old, abandoned building, Loretta tries to release him when Kenny is momentarily absent.  Unfortunately, the convict returns and tries to strangle Loretta for her efforts, almost succeeding in killing her before the fortuitous arrival of Kevin and the police.  Although Kenny has broken a bone in her neck. Loretta recovers, and the newspapers write about her, calling her "the Heroic Biker Babe" (Chapter 21).  It is Loretta's stubborn resilience that enables Max to get back on track after the twin trauma's of his father's return and the death of his best friend (Chapter 25).

What is an example of a soliloquy, a monologue, aside, and stage direction in The Crucible?

1. A soliloquy is a dramatic or literary device demonstrated by a speaker speaking to himself.  In Shakespearean drama, soliloquies are normally lengthy, but in modern drama such as The Crucible, they are not always so long.  The Crucible does not have many soliloquies, but one example is at the end of Act 2, when John Proctor turns from Mary Warren and faces the open sky as he declares,

"Peace. It is a providence, and no great change; we are only what we always were, but naked now. . . Aye, naked! And the wind, God's icy wind will blow!"

2. A monologue is similar to a soliloquy but can also be a lengthy speech by one person in which he/she monopolizes a conversation.  Judge Danforth is guilty of monologues.  In the middle of Act 3, when Proctor, Francis Nurse, and Giles Corey address the court, Danforth issues several diatribes (or monologues). He loses his temper with Rev. Hale's questioning his court and states,

"Mr. Hale, believe me; for a man of such terrible learning you are much bewildered . . ."

He continues on recounting what is common knowledge and then a short time later lapses into another monologue when he lectures Mary Warren.

3.  An aside is normally made by a character for the audience to hear but not for others to hear.  Elizabeth's last words of the play can be considered an aside.  While she is responding to Rev. Hale's pleas for her to "save" John, she also sums up John's decision as she cries,

"He have his goodness now. God forbid I take it from him" (Act 4).

4.  Miller's modern drama is rife with stage directions.  Almost all of the italicized lines of The Crucible are stage directions. For example, at the beginning of Act 1, Miller directs,

"As the curtain rises, Reverend Parris is discovered kneeling beside the bed, evidently in prayer."

What does Jocasta think of the gods?Include some specific lines from the play that support your assertion.

When Jocasta enters the play, she comes to mediate the quarrel between Creon and Oedipus.  She demands that they end their petty quarrel, for the tribulations of the city are far more important. She assures Oedipus that Kreon's intentions are good:

In the name of the gods, respect this oath of his/For my sake, for the sake of these people! (ll.613-614)

However, her anxiety is apparent, especially when she asks what has happened.  When she learns that Teiresias has charged Oedipus with the murder of Laios, she declares that the oracle who predicted that Laius would be killed by his own son was false:

Laios was killed/By marauding strangers where three highways meet;/But his child had not been three days in this world/Before the king had pierced the baby's ankles/And left him to die on a lonely mountainside./Thus, Apollo never caused that child/To kill his father, and it was not Laios's fate/To die at the hands of his son, as he had feared. (ll.674-681)

Jocasta evokes the gods and would have Oedipus think well of them as she portrays Apollo as benevolent.  But, she is uncertain, really, and merely tries to convince Oedipus by invoking Apollo's name.  For, later when Oedipus demands to talk with the shepherd who witnessed the death of Laios, she trembles with fear and again tries to convince herself and her listeners by saying,

But suppose he [the shepherd] alters some detail of it;/He can not ever show that Laios's death/Fulfilled the oracle:  for Apollo said/My child was doomed to kill him; and my child--/Poor baby!--it was my child that died first. (ll.807-811)

In the next scene, Jocasta tells Oedipus that she has

visited the altars of the gods, bearing/These branches as a suppliant, and this incense.

Jocasta entreats Apollo:

To you, then, Apollo,/Lycean lord, since you are the nearest, I turn in prayer....grant us deliverance/From defilement.  Our hearts are heavy with fear/When we see our leader distracted, (ll.873-877)

Jocasta continues, telling Oedipus,

Since Fate rules us and nothing can be foreseen/A man should live only for the present day. (ll. 928-930)

Then, she begs Oedipus, "For God's love, let us have no more questioning/Is your life nothing to you?/My own is pain enough for me to bear....This talk is a waste of time....You are fatally wrong! May you never learn who you are! (ll,1000-1012)

In desperation, Jocasta evokes the names of the gods, but she knows the truth.  As the great playwright, Thorton Wilder, describes her in American Characteristics and Other Essays,

The figure of the Queen is drawn with great precision, shielding her husband from the knowledge she foresees approaching; alternately condemning and upholding the authorities of the oracles as best suits the direction of the argument of the moment, and finally giving up the struggle.

The reader must conclude that Jocasta does not have faith in the gods, that the gods and Fate are surely against them.  For, she despairs completely, and takes her life.