Shakespeare wrote that he was in disgrace with fortune and men's eyeshumanities

Your quote refers to Shakespeare's Sonnet 29, which is one of his most famous. It begins with these lines:

When in disgrace with fortune and men's eyes,

I all alone beweep my outcast state,

And trouble deaf Heaven with my bootless cries,

And look upon myself, and curse my fate . . .

If you read the entire sonnet you will see all his reasons for feeling despondent. However, towards the end of the sonnet he reminds himself that he has someone he loves and who loves him, and the mood of the sonnet changes from despondency to joy.

Haply I think on thee,--and then my state

(Like to the lark at break of day arising

From sullen earth) sings hymns at heaven's gate . . .

Note how the alliteration in "sings hymns at heaven's" enhances the image of a bird singing in the sky like a skylark. Shakespeare sometimes uses many figures of speech in sonnets and sometimes only a single one which he exhibits "like a jewel hung in ghastly night" (Sonnet 27).

Write a shortnote on Material Requirement Planning (MRP).

Planning for material requirements in companies with manufacturing operations involving a large number of input materials processed in more than one manufacturing stages can get very tedious, requiring a large input data on manufacturing plans, existing stocks of purchased material and work in progress, and engineering standards of material requirements. In response to these requirements a number of readymade software systems were developed and offered in the market. A number of these software offerings were called Material Requirement Planning (MRP) packages representing their focus on Material Requirement Planning. At heart of these MRP package were bill of materials (BOM), which are engineering standards on material requirements for manufacturing operations. These BOM are prepared for each and every item to be manufactured in the company at each stage of manufacture. The MRP package had a very simple common processing logic involving the following steps.

The total input material requirements for final stage of production requirements is worked out using the finished goods production plan quantities and the BOM of final stage of production of items included in the production plan.

As vendors of MRP packages improved the capabilities of their product, they started using names like MRP II to separate the earlier versions of MRP from the latest version. Subsequently the capabilities of MRP was expanded to cover planning for other resources such as labor and equipment capacities. These versions of MRP capable of planning for many different types of resources within an enterprise acquired the name of Enterprise Resource Planning (ERP) systems.

Every ERP system worth its name must have provision for entering and modifying bill of material data, which normally originates in engineering design departments of many companies. These facilities may be extended to help the engineering design people to maintain and revise the design data. A vendor may describe this facility under engineering management function. But most certainly, as on date, no ERP package gives CAD facilities as part of engineering management.

How are the ladies in the stories "A Rose for Emily", "The Necklace" and "The Rocking Horse Winner" similar?

That is an interesting question!  Certainly all of the ladies have a sense of propriety and certain attitudes towards being wealthy, having money, and how one should behave  or be if you had money.  In "A Rose for Emily" because Emily has money, she feels that she is owed certain privileges and rights, like not having to pay taxes.  She often holds herself above the law and above the judgments and decisions of others.  She possesses a stubbornness and haughtiness that comes with her money.  She also doesn't have enough money in the end; she ends up with just one servant, and has to teach painting lessons to get by.  In "The Necklace", Madam Loisel desires the social status that Miss Emily already had.  She wanted to be wealthy, to have servants, and to attend the social functions that the upper classes attended.  She felt that she was in the wrong station in life.  She also disdained not having more money, and paid a huge sacrifice to be a part of the wealthy world, even if just for one night.  Her greed ends up taking her entire life away.  The mother in "The Rocking Horse Winner" was also constantly wanting more money, and disdainful that she didn't have more.  As her son senses this and sacrifices his life to obtain more, we see a common thread with "The Necklace"; greed requires a huge sacrifice.  Paul's mother is constantly unhappy about her lack of money, just like Madame Loisel; she tries to get more money as Emily does, and because she has a certain amount of money, she expects a certain lifestyle, just like Emily was expected to live a certain way because of her status.

Those are a few similarities in regards to attitudes towards wealth.  They are also three very stubborn ladies with their own viewpoints of the world that they refuse to change; this ends up in tragedy and disaster for all three of them.  Emily refuses to accept her loneliness, Loisel refuses to accept her station in life, and Paul's mother refuses to accept the fact that they don't have enough money for her lifestyle.  All three, because they are in denial, invite tragedy and misfortune.

Those are a few thoughts to get you started; good luck!

What are the main themes in the novel Miguel Street?

If you are thinking about the main theme of the novel, you have to look at the narrator and how he develops through the novel and the lessons he learns from this community which is the subject of this work.

In many ways the narrator learns about the values of this community - values which the community shares in common and which have a moral basis rather than a legal one. Legalistic values don't seem to have too strong a place in this community - no one thinks any worse of someone if they have a prison sentence, and sometimes it can make them a hero, as with Popo.

The street very definitely has its own standards which it enforces. There are numerous examples of behaviour which is not endorsed by the street as a whole: the cruelty of George towards his children and his forcing his daughter into a marriage, the beating that Mrs. Hereira's lover gives her etc. Compssion, dignity and endurance are the triumphs of Miguel Street - in comparison with the worldly successes that we tend to focus on. The lessons that the narrator learns are self-respect, beauty and imagination - perhaps the latter is the key lesson, as it is with imagination that the inhabitants of Miguel Street are able to accept each other and also the possibilities which each day brings.

in "Everyday Use," why does Dee want the quilts that her mother has?

My reading of "Everyday Use" is a little different from that of the previous post. Yes, Dee wants to acknowledge her heritage, but at heart, she wants her mother's things for materialistic reasons. All her life, Dee has looked down on her upbringing. When her mother and the church collected the money to send her to school, she thanked her mother by writing to her that "no matter where we 'choose' to live, she will manage to come see us." She didn't offer to have them come and live with her.

Now educated and socially aware, Dee has changed her name to one that sounds more African, and she wears clothing and has adopted a lifestyle that reflects that heritage. But she has forgotten her real heritage. She doesn't want the quilts because they were lovingly stitched from old clothing that tells a story. She wants to hang them on the wall and show her friends how "hip" she is. Dee was named after grandmother and her aunt, but she ignores that heritage by calling herself Wangero. She has lost sight of what is really important. It is by using those things as they were meant to be used that she honor her true heritage.

In John Milton's epic poem Paradise Lost, how does Eve respond to Adam's judgment of her after they have sinned?

In Paradise Lost, Eve, having sinned and having also encouraged Adam to sin, responds in different ways to Adam’s criticism of her in two different sections of the poem.

Shortly after Adam has joined Eve in sinning, and shortly after they have had sex together without sharing true love, Adam upbraids Eve for having failed to heed his earlier advice, when he had strongly and repeatedly urged her to stay with him and not go off to work on her own, thereby running the risk of being deceived by Satan (9.1134-42).

In response, Eve is immediately self-defensive. She refuses to accept responsibility for her actions, and indeed she even blames Adam for failing to insist strongly enough that she should not go: “Hadst thou been firm and fixed in thy dissent, / Neither had I transgressed, nor thou with me” (9.1160-61). These words are all the more ironic since Adam had steadfastly and consistently urged her not to go, although he was finally unwilling to command her to stay.  Initially, then, Eve’s pride causes her to resist accepting personal responsibility for her sin. She tries to blame her sin on Adam.

Later, however, after Adam once more rebukes her, Eve responds in an entirely different and altogether commendable way. In Book 10, after Adam calls Eve a serpent and orders her out of his sight (10.867), she now responds with genuine love, true humility, and a mature willingness to accept full responsibility for her own sin and even for Adam’s sin (10.914-37). She is even willing to bear Adam’s punishment for him, offering to suffer death so that he might live and be freed from blame. By showing her willingness to act in such a selfless, Christ-like, and literally self-sacrificing way, Eve exemplifies Christian virtues long before Christ ever comes to earth.

For an excellent brief overview of the poem, please see C. S. Lewis, A Preface to Paradise Lost (Oxford: Oxford University Press, 1961).

What are three characteristics for both Romeo and Juliet?

It's true R&J both come from "affluent families, but I'd like to point out that these families are not royalty, but merchants. Why is this important? Aristotle's Poetics says that tragic characters must come from families of kings and queens (or words to the same effect). If you think of it, Hamlet is a prince, Macbeth is a king, etc. Some people think that this is among several "definitions" or "rules" of tragic plays. I think it is much more likely that he is describing plays written for two festivals in which playwrights competed for prizes, and that those plays had certain rules.

I think Romeo and Juliet is a tragedy. Scholars, however, usually call it a "domestic tragedy," that is one which describes the suffering of characters who are not members of ruling families. If you think about it, Othello is also such a play. There are three or four other plays which survive from Shakespeare's time which are more like R&J and Othello than like Hamlet or King Lear.

I think the "tragedy" is no less sad or effecting in these plays. If you think about it, Death of a Salesman is also such a play. Miller devotes a lot of speeches comparing Willie Loman to great tragedies of the past. I think a dandy paper could be written, after a good bit of research, about this whole concept.