What is the meaning of "Man should build bridges rather than walls"?

Imagine you are trying to get somewhere, to go visit a friend, but along your journey you run into wall after wall that barricades your path.  It would make getting to that friend much more difficult.  Instead imagine that same journey, and at every obstacle, like large rivers, difficult ravines, etc., there was a bridge there for you to cross.  That would make getting to your friend much easier.  If you take that idea and put it into symbolic form, people should be doing all that they can to build bridges to friendships, relationships, happiness, prosperity and freedom.  If someone's goal is to achieve their dream of becoming a writer, for example, a way to build bridges for that person is to encourage them, give them outlets for their writing, and find chances for them to practice.  That would be building bridges.  If instead you were to discourage them, criticize their work too much, and stunt their dreams, then that would be building walls.

This thought, of building bridges, not walls, can be applied to almost any situation.  If you are trying to get straight A's, building a bridge to get there would be to study hard, pay attention, get help when needed, and form bonds with others who can help.  If you were to build walls instead, you might let your fear of talking to the teacher get in the way of asking help, or your shyness get in the way of forming study groups, and your not wanting to study get in the way of doing well.  Those would be walls that you have built that impedes your success.

I hope that those examples help to explain the quote a bit; good luck!

What are some character traits for Juliet and examples?Example: Juliet is loyal because she sticks by her husband even after he kills her cousin...

You might want to focus on concrete details first before you go on to make judgements about Juliet's character. Also, what I suggest you do is focus on how her character changes throughout the play - there is definite evidence that the Juliet we meet at the beginning of the play is very different from the Juliet at the end of the play who is willing to plunge a dagger into her breast for love. Here are some ideas to get you started.

We are told in the play that Juliet is not quite fourteen, which means she stands on the cusp between childhood and adulthood. When we first meet Juliet, she is presented as an immature, obedient child, who obviously has not thought much about marriage, and says to her mother that she will try to love Paris. She is also uncomfortable with the Nurse's repeated references to sex. She also, however, shows her determination and resolute nature in these first scenes. She is able to quiet the nurse with a word in Act I scene iii where her mother is unable to quiet the nurse, and in her response to her mother there is a note of passive resistance.

It is when she meets Romeo that Juliet takes a definite step towards adulthood. Although she is head-over-heels in love with Romeo, she is still able to maintain an objective stance and criticise Romeo for his tendency to romanticise their love and for his rash decisions. After Romeo's banishment, she makes a rational decision to take her union with Romeo as her new focal point and to make all other decisions based on this. It must have taken a lot of courage for her to reject her parents and former social position when everyone was encouraging her to marry Paris and keep her marriage with Romeo a secret, yet in her choices and her daring in taking the potion of Friar Lawrence we see a steely determination and resoluteness that is completed in her decision to end her life because of the intensity of her love for Romeo. In this play therefore we see the development of a young child into an eminently capable, strong and resourceful woman.

How does Sense and Sensibility reflect Austen's world?

Sense and Sensibility accurately reflects Jane Austen's world or society, in that it depicts the need for women to marry for financial security.  Elinor and Mariane, the sisters in Sense and Sensibility, live in the country, the same as Austen's familyy did, and even though they are a learned family, they are part of the professional class, where women had very few options, except to marry up into the landed gentry class.

"In Sense and Sensibility, they socialize with and marry into the landed gentry, the next higher social class. Social assimilation and upward mobility of this sort is a major theme in many of Austen's works."

Austen's emphasis on the need for women to marry for financial security is a common theme in her work, an attitude that dominated the 19th century in which she lived.

Elinor and Marianne both are lucky enough to fall in love, and even though Marianne marries an older man, she is perceived to be in good hands, both financially and emotionally with Colonel Brandon.  He is very much in love with Marianne.  

Elinor, who falls in love with Edward.

"However, he must marry a woman of his mother's approval to come into his fortune. Austen writes, "He was not handsome, and his manners required intimacy to make them pleasing."  

Jane Austen, who fell in love with a young man herself and was not permitted to marry him because of their different social classes, fully understands what both Elinor and Mariane experience.  Elinor is given the ideal, she marries the man she truly loves, while Marianne, spurned by her true love, Mr. Willoughby who ends up marrying a rich socialite in order to please his aunt and secure his inheritance, marries a rich older man, Colonel Brandon.

Jane Austen 's world is present in every word of Sense and Sensibility.   

On what page number can I find this quote in the The Importance of Being Earnest:"Ignorance is like a delicate exotic fruit; touch it and the...

The actual page number will differ depending on the publication; however, this quote usually comes approximately nine pages into Act I of Oscar Wilde's play (and because I am getting my version from an anthology of English Literature, it's on my page 640).  Regardless, this quote comes in the middle of the conversation between Lady Bracknell and Jack ("Ernest") Worthing.  Jack, who calls himself "Ernest" in the city, has just asked Gwendolen to marry him.  Lady Bracknell, who proclaims that Mr. Worthing is not on her very important list of eligible bachelors, is not thrilled at this prospect of marriage. 

Right before the quote you mention, Lady Bracknell becomes glad to hear that Mr. Worthing smokes because "a man should always have an occupation" (Wilde 640).  Going even further, Lady Bracknell is glad to hear that Mr. Worthing is twenty-nine.

Lady Bracknell. A very good age to be married at.  I have always been of opinion that a man who desires to get married should know either everything or nothing.  Which do you know?

Jack (after some hesitation). I know nothing, Lady Bracknell.

Lady Bracknell. I am pleased to hear it.  I do not approve of anything that tampers with natural ignorance.  Ignorance is like a delicate exotic fruit; touch it and the bloom is gone. (640)

Lady Bracknell, then, is the character who says these lines.  Lady Bracknell puts a great stress on this quality of what she calls "natural ignorance."  Here she explains that ignorance is easily taken away because, once one learns anything, ignorance is gone.  Lady Bracknell becomes less and less fond of Jack ("Ernest") Worthing, especially after learning that he has no real relations to speak of.  This is unacceptable for a good, Victorian lady in regards to marriage.

What hints are given in Section 1 that "A Rose for Emily" takes place in the South?

There are other hints, too, in Section I. For example, the mayor, Colonel Sartoris, "fathered the edict that no Negro woman should appear on the streets without an apron (288), and also a reference to the graves of Union and Confederate soldiers. 

Additionally, all of Miss Emily's servants are "Negro," and in the North, servants were less likely to be so.  The prevalence of African-American servants in the South was largely a function of the aftermath of the Civil War and the freeing of slaves, who seldom had the financial wherewithal to leave the areas in which they had been slaves.  Many former slaves stayed with the plantations on which they had been enslaved, continuing to be field workers or house servants. 

Who was "not born of woman" in "Macbeth" and why?

In Act 4, scene 1, Macbeth returns to the witches to consult them about his future. It is at a time when he has become paranoid about his security and wishes to hear their assurances. The witches call up different apparitions and the second apparition informs him:

"Be bloody, bold, and resolute; laugh to scorn
The power of man, for none of woman born
Shall harm Macbeth."

This statement emboldens Macbeth and he says:

"Then live, Macduff: what need I fear of thee?"

It is ironic that Macbeth refers specifically to Macduff here, since he discovers to his utter dismay later, that Macduff was not "of woman born".

When the two confront each other on the battlefield in Act 5, scene 8, Macbeth warns Macduff:

"Let fall thy blade on vulnerable crests;
I bear a charmed life, which must not yield,
To one of woman born."

Macduff replies:

"Despair thy charm;
And let the angel whom thou still hast served
Tell thee, Macduff was from his mother's womb
Untimely ripp'd.

Macduff informs Macbeth that he had not been naturally born, i.e. he did not pass through the birth canal but was prematurely removed (ripped) from his mother's womb - so it could not be said that he was 'born' in the true sense of the word. It was an unusual and unnatural act. It could be that Macduff's mother was incapable of bearing her son by natural means which compelled the surgeons of the time to perform, what we call nowadays, a Caesarean Section.

Macbeth is shocked and dismayed by this information and realizes that he had been fooled by the witches. They had deliberately misled him - an example of the equivocal and paradoxical nature of their predictions. He declares:

"Accursed be that tongue that tells me so,
For it hath cow'd my better part of man!
And be these juggling fiends no more believed,
That palter with us in a double sense;
That keep the word of promise to our ear,
And break it to our hope. I'll not fight with thee."

When Macbeth refuses to fight, Macduff commands him to surrender but Macbeth prefers not to. They fight and Macbeth is killed.

What is the Point of view?

Point of view is the perspective or angle from which a story is told. The narrator may be using a pronoun like "I," indicating a first-person narrator, typically a character in the story, telling about events in which he was probably involved. This point of view has the advantage of being more believable because the character, whether a major, minor, or merely a witness, actually experienced the events.

If the narrator, on the other hand, is not part of the action but merely observes what's going on, he or she may use pronouns like "he,""she," or "they" to refer to characters. This detached perspective may come from a narrator who is not a character at all in the story, merely a voice created by the author to tell the story. This point of view is called third-person.

Two other terms used to describe point of view are omniscient and limited omniscient. An omniscient narrator can tell what all of the characters are saying, doing, and thinking. A limited omniscient narrator, however, can reveal only what other characters are doing and saying, not their thoughts.

In "A Rose for Emily", why does the minister's wife send for Miss Emily's relations?Who is Homer Barron and when does he disappear?

The minister sends for Miss Emily's relations (female cousins) because of her seeminly inappropriate behavior with Homer Baron, a carpet bagger-type from the North.  They are seen riding in carriages without a chaperone which is not considered proper behavior for an unmarried Southern lady like Miss Emily.

Homer Baron is a northerner who is spending time with Miss Emily.  They are seen together in public and the rumors fly that maybe they will get married.  Miss Emily has bought a set of gentleman's toiletry items engraved with Homer's initials, and he disappears shortly after Miss Emily is seen buying poison for pole cats and rats in the local apothecary's shop.  Not long after that, the local men are having to spread lime in Miss Emily's yard because of the horrible smell of death that has gathered around the home.  Unable to investigate because it's not right to tell a Lady that she smells, the men did this under cover of darkness.

Later, after Miss Emily's death and Toby's disappearance, the corpse is discovered with a long, iron-gray hair on the pillow beside it indicating that Emily and Homer had actually "married" in some sense of the word.

Can anyone point me as to what narrative references would help me to prove that Brown can be forgiven for what he became after his trip?I have to...

One of the themes of Hawthorne's narratives on the Puritans is the unforgiving nature of this sect.  His novel "Scarlet Letter" and short story "The Minister's Black Veil" underscore this theme of the Puritanical, sanctimonious condemnation of anyone who "sins."  As such a sanctimonious, self-righteous Puritan--he must be judged in the context of this Puritanism in Hawthorne's story--Goodman Brown, too, allows for no forgiveness. Throughout the story, because of the limitations of his Puritan faith, Brown never understands himself; instead, he perceives others as sinful and faithless. Thus, after his "dream," he becomes

a stern, a sad, a darkly meditative, a distrustful, in not a desperate man...from the night of that fearful dream.  On the Sabbath day, when the congregation were singing a holy psalm, he could not listen because an anthem of sin rushed loudly upon his ears and drowned all the blessed strain.  When the minister spoke from the pulpit with power and fervid eloquence, and with his hand on the open Bible, of the sacred truths of our religion, and of saint-like lives and triumphant death and of future bliss or misery unutterable, then did Goodman Brown turn pale, dreading lest the roof should thunder down upon the gray blasphemer and his hearers.

The question, then, is not whether Goodman Brown can be forgiven, but whether Brown can forgive others that, in his Puritanical self-righteousness, he perceives as condemned.  To use the Puritan/Calvinistic term, these people are the "damned" and Brown a member of the "elect."

Nathaniel Hawthorne's story "Goodman Brown," like his other narratives, examines the unforgiving and stringent nature of Puritanic Calvinism that denies the humanity of man.  This religion adamantly refuses to acknowledge the possibility of redemption.  For this reason, the "desperate" young Goodman Brown in his Puritanism cannot forgive his community and perceives them as "blasphemers" when he, himself, is the man who has lost faith in his despair.

When the narrator meets Usher in "The Fall of the House of Usher," what startles him about his appearance and behavior?character change

First of all, the ominous setting of decay in the surroundings of the Usher mansion itself, unnerves the narrator as he approaches the home of the friend from his youth.  Then, as the narrator enters the mansion in "The Fall of the House of Usher," he notices "the discoloration of ages."  Into a dark and sorrowful room of "irredeemable gloom" the narrator sees his old friend rise and greet him with what the narrator first perceives as "an overdone cordiality," but later realizes is sincere.  However, what the narrator notices most is how changed Roderick Usher is.  In the "exaggeration" of his features, Roderick appears so different as to be unrecognizable.  His hair is now of a mere "weblike softness," and a strange luster is in his eyes of a face of "ghostly pallor."

It is interesting to note Poe descripption of the hair of Roderick:

 "all unheeded...in its wild gossamer texture, it floated rather than fell about the face, I could not, even with effort, connect its arabesque expression with any idea of simple humanity.

Arabesque is the word Poe uses for his technique of weaving and turning his narratives.  So, in a sense, this physical description of Roderick Usher foreshadows the turnings and twistings of Roderick's mind that are soon to follow, as well as the gothic effects to come.

How can Lord of the Flies be seen to trace the defects of society back to the defects of the individual?With reference to the characters of the book.

In Chapter 4 as Roger contemplates hitting the unsuspecting Henry, who sits and plays with the "detritus of landward life, there is the first indication of the evil in men's hearts. It is only the vestiges of society that prevent Roger from striking Henry with a stone, "that token of preposterous time":

Roger gathered a handful of stones and began to throw them.  Yet there was a space round Henry, perhaps six yeards in diameter, into which he dare not throw.  Here, invisible yet strong, was the taboo of the old life.  Round the squatting child was the protection of parents and  school and policemen and the law.  Roger's arm was conditioned by a civilization that knew nothing of him and was in ruins.

As an allegory, "Lord of the Flies" traces the defects of society as represented by the different boys, back to the defects of the individuals.  Roger is a predator, but he has been conditioned by society.  Piggy represents pure reason, but pure reason cannot survive against the primal urges of man. In the ending chapters, the savagery has emerged in the hunters and Piggy is murdered as his head crashes against the stones, the tokens of "preposterous time." Earlier in the novel when the intuitive Simon wishes to communicate that he knows the "evil that men do," he, too, is eliminated.  Finally, then, it is Jack and the hunters, the savage, primitive men who control the activities of the island.  Ralph, the only rational man is trapped and will be killed.  But in an act much like the deus ex machina of Greek plays, Ralph is saved by society, albeit a marred one, as it is the military officer who appears.

The defects of humanity arrive in the person of this man, for he is less than perfect.  A man of war, he turns and looks at his warship while the boys crowd around him, crying for the loss of their innocence.  Even in civilized society there is war.  As the boys have proven in this allegory, violence thrives.

In "The Adventures of Huckleberry Finn" what is significant in the new judge's treatment of Pap?

The passage that you are looking for is in chapter five.  Judge Thatcher knows what a bum Pap is; he knows he's a lousy drunk, father and example to Huck.  So, when he petitions the new judge to see if Miss Watson can't adopt Huck for her own, he knows it is for the best because Pap is beyond reform.  However, the new judge "said he'd druther not take a child away from its father" and didn't want to separate families if he could help it.  So, Huck is stuck with Pap.  The new judge decides to attempt to reform Pap, so he brings him to his house one evening, feeds him supper, cleans him up, gives him new clothes, and lectures him about temperance (staying sober) and about being a good example.  Well, Pap appears to be mighty touched by all of this, and swears that he is a changed man.  He, the new judge, and the new judge's wife all cry and hug and get all blubbery; Pap signs a pledge indicating his change of heart.  The new judge is naive enough to put Pap up in the spare room for the night.  And of course, Pap

"got powerful thirsty and...traded his new coat for a jug of forty-rod...and rolled off the porch and broke his left arm...and was most froze to death when somebody found him after sun-up."

So, the "reform" lasted all of 30 minutes or so, before Pap was up to his old ways.  After that incident, the new judge

"said he reckoned a body could reform the old man with a shotgun, maybe, but he didn't know no other way."

What is ironic about this entire incident is that the very man who blocked Huck's adoption by a nice old lady so that he could stay with Pap, ends up admitting that Pap was worthless.  I hope that those thoughts help a bit; good luck!

What is the importance of dialogue to the character development in Pride and Prejudice, with three examples?

One of Jane Austen's most brilliant stylistic techniques is her skill in developing character through dialogue. As an example of this in Pride and Prejudice, recall Elizabeth's first conversation with Charlotte Lucas about marriage. In this dialogue, Austen develops Chalotte's character by providing the intellectual rationale and the motives for her later acceptance of Mr. Collins' marriage proposal and for the foundation of what Elizabeth considers her inexplicable happiness and contentment in her married life. In the same dialogue, Elizabeth's character is more deeply developed so that her inability to see a perspective that opposes her own is revealed, which is a critical aspect of Lizzie's character as it helps fuel the escalating conflict between Lizzie and Mr. Darcy.

Another instance of how Austen adroitly uses dialogue to develop character is that which initially introduces Elizabeth to Mr. Darcy in which he is addressing a member of his own party and during which Elizabeth is inadvertently eavesdropping. Mr. Darcy's pride and sefl-sufficient character is developed by his statements about dancing at Meryton ball in general and about dancing with Elizabeth in particular, while Lizzie's ironical (and perhaps slightly narrow-minded) character is developed through her narrated responses to the dialogue she has overheard.

In the inimitable conversations between Lady de Bourgh and Elizabeth, Lady de Bourgh's character is developed as she pronounces regulation upon every facet of life that falls under her purview, which is important because, even though she is only a minor character, her dialogic contributions indirectly further Darcy's character development and do much to escalate the conflict between Elizabeth and Darcy. Elizabeth's charcter development is also furthered by her conversations with Lady de Bourgh as the dialogues (1) cause her dislike of Darcy to become more pridefully and prejudicially entrenched in reaction to her disdain for Lady de Bourgh and, later, (2) cause her to hope that it might not be too late to gain Darcy's love after all--after Elizabeth has had her character awakening revelations and character changes.

In the book "Monster", did Steve change and if so, what was it and was it good or a bad change?

The primary change in Monster is how Steve views himself.  Again, we really do not know if he is innocent or guilty.  Perhaps, it is the author's strength in description that leaves us in the middle of trying to determine for ourselves what happened the night in question.  However, we do know that Steve has changed.  His change has resulted from the trial and the emotions trapped within it.  He has to balance what he knows he did in his own mind, with how the prosecution has depicted him to the jury, how his own lawyer depicts him, and how she views him on a personal level, and how his family, especially his father, will perceive him.  The most important change Steve undergoes in all of this is that his perception of self is a combination of all of these view points.  In the modern setting, there is no "one aspect of universal truth."  Rather, truth is a collection of figments and fragments, in the hopes of understanding some aspect of a whole. The author knows this and plays this to an enhanced degree when Steve has to understand his own sense of self.  The style of the novel contributes to this, as it is in script and journal entry form.  There is no "complete" and "universal" truth in narration.  Just like us, Steve's change is that he is now seeing himself in multiple and different lights, some that show him not to be a monster and some that do.  His change is the confused and diverse understanding of self he now possesses.

In the book Invisible Man, why do students and teachers at the college hate and fear Trueblood and the other black belt inhabitants?

The students and professors at the black college dislike Trueblood because he is a threat to them. Since its founding, the college has supposedly been an opportunity for black people to break out of the societal binds that hold them down. Whether this potential freedom is real or not is debatable, since the professors and students alike seem extremely beholden to the white benefactors.

What Trueblood represents is a legitimacy to the negative stereotypes that the people at the college are trying to break and overcome. He justifies the white man's oppression. If the founders or learn his story, they can use him to validate their superiority, even though he is not typical. His "accidental" sexual encounter with his daughter and the fact that both his wife and daughter are pregnant by him makes him both the pariah of the black college community and the prophet of the racist white community. The black leaders try to rid themselves of him send him away, but the white leaders treat him better after he impregnates his daughter and give him clothes and more money than he had ever had.

One of the major themes of Invisible Man is IDENTITY. Even his name is symbolic. True blood implies that he is the embodiment, at least in the eyes of the whites, of what people of African-American blood really are. Trueblood establishes an identity for the college that they do not want. He identifies blacks as people of low morals who lack self-control. The college is attempting to create an opposite identity for African Americans. The existence of Trueblood and people like his is an extreme threat to that hoped-for identity and acceptance.

How does the narrator feel about being back at Devon? Why do you suppose he has returned there?

Gene has a great deal of ambivalence about his return to Devon.  He has a certain amount of nostalgia for the school of his boyhood, a place where he clearly had times of great joy.  But there is an atmosphere of darkness in the beginning section. It is raining, cold, and gloomy.  That is the dominant feeling for Gene on his return. 

Why does he return?  Gene's time at the school was a time of great turmoil, the war to which these young men were going, and a time of great tragedy, the death of Finney.  Gene was responsible for Finney's death, he being the person who caused Finney to fall from the tree.  The war and Finney's death have haunted Gene, and he is returning to confront his demons and perhaps to atone.  You will notice that the specific places he wishes to see are the tree from which Finney fell, and the steps that Finney fell on.  In combination, these are the scenes that led to Finney's death. 

You might want to ask whether Gene is a better person than he had been while he was a student at Devon.  Does he see the past more clearly or does he take more responsibility for his past actions?  Is he still making excuses for himself?  Does he forgive himself for what he did?  Or is Gene more blameless than we think because Finney was a risk-taking kind of character who would have died no matter what Gene did or did not do?  As this return to Devon is meant to show how we grow (or not), this is an opportunity for you to consider as you go back in time with Gene in the story whether his journey back was a productive one. 

What does the poem "A Poison Tree" talk about?

This is a very interesting poem that has a thought-provoking moral at the end of it.  Basically, the speaker of the poem describes two scenarios:  the first is where he was upset with someone, told that person about it, and then the incident was over and done with:  "I was angry with my friend:/I told my wrath, my wrath did end."  So, the point here is that when you are upset with someone, it is good to talk about it, to end the matter and move on.  The second scenario he describes is when he was angry with someone and kept his wrath within him instead of speaking about it; as a result, it "did grow". He thought about his anger more and more, and he nurtured it.  He "waterd it in fears," dwelling on his anger and fears, and tried to hid it as he "sunned it with smiles."  The wrath becomes so large and noticable that Blake uses a metaphor of an apple growing from a tree to describe how it feels to him; it is an apple poisoned with his wrath.  This is symbolic of how our anger can only yield bitter and poisonous results (or fruit) that are no good to anyone.  Along these lines,  at the end he states that

"In the morning glad I see;/My foe outstretched beneath the tree,"

which seems to indicate that the foe has partaken of this poisoned apple, and has died.  If your wrath and anger for someone is nurtured within you for so long, it eventually turns to poison, and that poison often does great damage to the person you are angry with.  It's kind-of like bottling up rage and having it explode, with disasterous and regretful results, instead of just dealing with your anger right away.  Blake uses a poisoned apple as a metaphor for that toxic anger that the reader grew by dwelling on it, and his foe, outstretched on the ground, is a symbol for the speaker having released his anger finally, and how it completely destroyed the other person.  I doubt Blake is referring to actual murder, but think of the consequences of blowing up at someone; it ruins friendships, self-esteem, families, marriages, and often has lasting impacts.  Blake's moral is that when we are angry, we should, as he did in line 2, talk about it and get it out there, so that it can "end" in a better way.

I hope that explanation helps a bit; good luck!

What are two examples of hyperbole in Macbeth, and why did Shakespeare choose to use them?

Shakespeare uses hyperbole to show the deep guilt Macbeth and Lady Macbeth both feel for their horrible acts. The first example is found in Act II immediately after Macbeth has killed King Duncan. Studying Duncan's blood on his hands, Macbeth says these lines with deep emotion:

Will all great Neptune's ocean wash this blood

Clean from my hand? No; this my hand will rather

The multitudinous seas incarnadine,

Making the green one red.

Macbeth is saying that there is enough blood on his hand to turn the ocean itself red. This hyperbole (exaggeration) shows show much guilt and horror he feels after killing Duncan.

In Act V, Lady Macbeth walks in her sleep and goes through the motions of washing Duncan's blood from her hands. She cries out:

Here's the smell of the blood still. All the perfumes of Arabia will not sweeten this little hand. Oh, oh, oh!

She means that the smell of the blood on her hands is so strong that it cannot be washed away and all the sweet perfume in Arabia would not be strong enough to cover it up. This exaggeration shows that, like her husband, Lady Macbeth is deeply guilty and horrified by her role in Duncan's murder. She also feels guilt for the murders of Banquo and Macduff's family and servants, all of which happened after Duncan's murder.

What is AIDA approach of selling?

'AIDA' is an approach to successful selling involving four sequential steps. These steps of selling are represented by four key words attention, interest, desire and action, and the term AIDA is and acronym formed out of these. Full title of these four steps of selling are:

1. Attention: Attract Attention


2. Interest: Create Interest


3. Desire: Kindle Desire


4. Action:Take Action

The first task that a salesperson must accomplish during a sales interview is to attract the attention of the prospect. Unless this happens the prospect will not continue the interview, or will not listen to what the salesperson is saying.

Once the the prospect is paying attention, the sales interview can move to the next stage. In this stage the sales person must ensure that the prospect is sufficiently interested in the product being offered for sale. The customer need not want to buy the product at this stage, but the customers should at least feel that the product is worth considering for purchase. When the customer is in this state of mind, the sales person can move to the next stage.

In the third stage, sales person must convince that the product is worth buying for the customer and kindle a desire for purchasing the product immediately. This is a critical stage. Many customer agree to the value of a product in general, but may not be ready to purchase it immediately. It is important for the sales person to kindle this desire for purchase, and when this has been done successfully move quickly to the next stage.

The final step in the sales interview is to take action for completing the sales. This action for making the prospect take the final purchase action is popularly called closing the sales. The sales person must be careful to determine when the objective of step three - kindling desire - has been achieved and immediately close the sales. This results in either salesperson directly handing over the product to customer, or customer signing an order form, or any other action which confirms the sale.

"Can, or cannot, Young Goodman Brown be forgiven for living the rest of his life as he did and why?"

The concept of forgiveness depends on who is giving the forgiveness.  Are you asking if Brown can be or should be forgiven by God, or are you asking can he be forgiven by the people he lived with in his day to day life?

God will forgive Young Goodman Brown for the sin of anger, abandonment, and any sin for which Brown asks forgiveness. However, Brown turns his back on God.  Without our faith in God and our plea to Him for forgiveness there is none.

"Often, awakening suddenly at midnight, he shrank from the bosom of Faith, and at morning or eventide, when the family knelt down at prayer, he scowled, and muttered to himself, and gazed at his wife, and turned away." 

The people in his life may not be forgiving.  The reader must remember that this character is disillusioned.  He has gone into the woods, lured by the devil, and sees everyone he respected and loved there worshiping evil.  Goodman Brown was horrified to see that the people he beleived to be pure and holy were marked with the blackness of sin.  He couldn't overcome this disillusionment.  Even the woman he loved, Faith, was not pure and holy as he first believed.  How could he find his way back to the love and respect he once held for these people? 

The higher the pedestal that we put people up on top of, the farther they will fall in our eyes when they disappoint us; and they will eventually disappoint us.  We are all human, and

"Brown's illusions about the goodness of his society are crushed when he discovers that many of his fellow townspeople, including religious leaders and his wife, are attending a Black Mass. At the end of the story, it is not clear whether Brown's experience was nightmare or reality, but the results are nonetheless the same. Brown is unable to forgive the possibility of evil in his loved ones and as a result spends the rest of his life in desperate loneliness and gloom."