We'll use the cross multiplying to determine the value of
a: the products of means is equal to the product of
extremes.
7*(-2) = 5*3a
-14 =
15*a
Now, w'ell use symmetrical
property:
15a = -14
We'll
isolate a to the left side, dividing both sides by 15:
a =
-14/15.
Therefore, the requested value of the
unknown a is a = -14/15.
The character of Gatsby resembles F. Scott Fitzgerald more
than Nick does. Fitzgerald was a romantic. He admired the rich. He came from a humble
background, but he went to Princeton, a rich playboys school in those days, and picked
up the habits and values of the rich. Then when he became a successful writer he had to
prostitute his talents in order to keep making money to keep up with his wealthy
friends. He married Zelda, who came from a prominent family and had expensive tastes.
All his life Fitzgerald wanted to be rich and upper-class.He seems to be speaking about
himself through Gatsby. His books were always about the rich, especiallyThe Beautiful
and Damned, The Great Gatsby,andTenderis the Night. His short stories were also about
rich, leisure-class people. He was a successful writer because the American public also
admired and were curious about the rich. Then tastes and interests changed with the
coming of the Great Depression, and Fitzgerald found that his subject matter was no
longer in demand.
It is Boo Radley who is usually blamed for any "small
crimes committed in Maycomb," but since Mr. Radley must have known that Boo was inside
the house (or at least on the porch), he blamed the trespassing on the next logical
choice: A Negro. It was not likely that any black man would be lurking at night on a
white man's property (since a shotgun blast was the probable result), but Mr. Radley's
guess as to the color of the culprit's skin would probably have been echoed by most of
the other townspeople. Miss Stephanie's crude attempt at humor was an attempt to make
light of the situation:
"Shot in the air. Scared him pale, though. Says
if anybody sees a white nigger around, that's the
one."
There is a sense in which both the narrator and her
grandmother are losers in their "battle of wills," although overtly the child is the
winner in this competition. When she tells her grandmother that there are taller
buildings than the tallest tree on her island, the narrator feels she has won, but that
this victory has come at rather a great price:
Finally, with a vague gesture that even in the
midst of her defeat still tied to dismiss me and my world, she turned and started back
through the gully, walking slowly, her steps groping and uncertain, as if she were no
longer sure of the way, while I followed triumphant yet strangely saddened
behind.
The way in which the
granddaughter is strangely saddened indicates the cost of this victory, and the way that
we could debate whether it was actually a victory at all. Note how the story ends and
the final paragraph that points towards the way in which the granddaughter actually
loses in a very significant way as well:
She died and I lived, but always, to this day
even, within the shadow of her
death.
The narrator feels the
need to go through a period of penance when she becomes an adult, which reinforces the
impression that although she did "win" the battle of wills, it was a victory that she
came to intensely regret, and a victory that she realises was paradoxically a
defeat.
The density of a substance is defined as the mass of the
substance divided by the volume of the substance that is being
considered.
Density =
mass/volume
The density of petrol is 800 kg/m^3. One m^3 of
petrol weighs 800 kg. We have to determine the volume of 3200 kg of
petrol.
Using ratios we have 800 kg : 1 ^3, multiplying
both sides by 4 gives 3200 kg : 4 m^3. The volume of 3200 kg of petrol is 4
m^3.
The volume of 1600 kg of petrol is 1600/800 = 2
m^3.
As the density of lead is 11400 kg/m^3, the mass of 2
m^3 is 11400*2 = 22800 kg. The mass of lead with the same volume as 1600 kg of petrol is
22800 kg.
Third parties generally emerge when some sort of major
change makes the previous party system impossible to maintain. For example, it was the
splits between the North and South leading up to the Civil War that led to the death of
the Whig Party and the eventual creation of the Republican Party. So the question then
becomes whether there is such a major change taking place
today.
One can certainly argue that there is. The rise of
the Tea Party and of anger about government spending and taxes (while at the same time
people demand that their Medicare and Social Security not be touched) is putting a great
deal of stress on the political system. Neither party seems at this point to be able to
come up with a way of satisfying voters that seems likely to be workable and
long-lasting. In such an environment, with the US population aging, globalization
increasing, and questions arising about the role of government, it could be that the
time is ripe for a third party to arise.
Gasses obey the Ideal Gas Law. The Ideal Gas Law
is
PV = nRT
In general the
volume that gas will occupy is proportional to the number of moles present. In the
stated problem, there is not a specific number of moles given. However, this is not
critical as we are asked to find the density of the gas at a specific set of
conditions. The density at a given temperature and pressure will be constant regardless
of the number of moles present because the volume occupied is directly proportional to
the number of moles. Thus doubling the moles (doubling the mass of the gas) will double
the volume. Density being the ratio of mass to volume will remain the
same.
We are free to choose any number of moles we wish as
long as the methane (CH4) and ethane (C2H6) are equi-molar. Equi-molar simply means
there must be the same number of moles of methane as there are moles of ethane. Being
free to choose allows us to select one mole of
each.
Applying this and the other conditions of the problem
allows us to calculate the volume of the gas
P = 700 mmHg =
(700/760)atm = 0.921 atm
n = 2 moles (1 mole CH4 + 1 mole
C2H6 = 2 mole of gas)
T = 100 deg C = 373.15
K
R = 0.0821 (L atm)/(mol
K)
Solving PV = nRT for V results in V =
(nRT)/P
V = (2mol)X(0.0821 L atm/mol K)X(373.15K)/0.921
atm
V = 66.5 L
To get the
density we must know the mass of the gas. This can be obtained by calculating the molar
mass of each of the gasses.
The 1 mole of CH4 has a mass of
12.01g + 4(1.008g) =16.042 g
The 1 mole of C2H6 has a mass
of 2(12.01g) + 6(1.008g) = 30.068 g
The total mass of the
gas is thus 16.042g + 30.068g = 46.11 g
The density is
determined from D = m/V = 46.11g/66.5L
D =
0.693 g/L.
Some attention should be given to
the number of significant digits in the problem. There is some ambiguity in the problem
concerning the number of signficant digit in each of the stated quantities, and thus the
answer may need to be rounded to the nearest tenth of a gram/L.
I remember once studying this story in high school and
being given the assignment of having to draw a map of the tunnel! You might actually
find this a helpful exercise to do in order to familiarise yourself with the tunnel and
its various dangers. We know that there is a rockface in the middle of which the tunnel
begins. When Jerry finally enters the tunnel, he finds himself "in a small rock-bound
hole filled with yellowish-grey water." The roof of this tunnel is sharp. The width is
obviously not that big, as Jerry has to pull himself along with his hands. His lack of
vision reveals the darkness inside the tunnel.
After a
while, we are told that the hole widens out, and he comes across crack running through
the roof of the tunnel which allows sunlight in so that he can see the "clear
jewel-green" colour of the water and the darkness of the tunnel ahead. The way that he
is running out of breath in the final section means that we are not given an accurate
account of the final stretch of the tunnel, but we know that the tunnel carries on in
darkness until Jerry finally leaves it and is in the open sea.
Within the first 370 lines of the epic poem
Beowulf, one of the protagonists of Beowulf's is described in great
detail. Grendel, a descendant of Cain, is awakened by the boisterous noise emanating
from Hrothgar's mead hall, Heorot.
Given that Grendel is
facing exile, deemed by God, for his relation to Cain, He considers himself a foe of
God's. This being said, Grendel cannot enact his revenge on God and finds that the only
way to hurt God is to take the lives of his
followers.
Grendel decides to take out his revenge by
murdering Hrothgar's people. Upon the first night of his revenge, Grendel takes the
lives of thirty Danes. He continues to enact his revenge against the Danes at Heorot
until Hrothgar decides to close the mead hall.
Basically,
hearing the people of Heorot irritates Grendel given the fact he cannot approach the
golden throne of God. Hrothgar built Heorot in order to praise God and the people at the
hall are celebrating God's power. Based upon the fact that Grendel cannot enter into the
light, because of his exile into darkness, he finds the only way to soothe his annoyance
is to attack the mead hall.
The typewriter and the telegraph were important
inventions. Both of these inventions made it easier for people, for governments, and for
businesses to communicate with each other.
Before the
typewriter, everything had to be written by hand. If a person had poor handwriting, it
would be difficult for a message to be read and understood. Using the typewriter
increased the speed at which messages could be written. A person could type words much
faster than by writing them.
The telegraph also increased
the speed of communication. Messages could be sent long distances very quickly. Instead
of taking a few weeks or longer to get a message from coast to coast or across the
Atlantic Ocean, messages could be sent immediately. This allowed companies to do more
business. It also allowed for improved military and political communication. No longer
would battles be fought after a war ended such as the Battle of New Orleans occurring
after the Treaty of Ghent was signed. Government orders and information could also be
transmitted much quicker with the use of the telegraph. Little did people know in the
1840s, the invention of the telegraph was the beginning of instant
messaging!
Both of these inventions improved communication
significantly for everybody.
There can be no dispute that human beings are animals. We
are clearly beings that can move on our own and which must eat other things to get our
energy (rather than photosynthesizing it). Biologically, then, we are clearly
animals.
The question, then, is whether we are somehow
different from other kinds of animals. Clearly, we are different from other animals in
a way that makes us human. The major difference is the fact that, so far as we can
tell, we are the only animals that are capable of higher thinking. We are the only
animals to be able to make tools and to have full languages. These are things that seem
to make us qualitatively different from other animals that just exist without truly
being aware and without being able to think about abstract things in the way people
can.
Overall, then, we are clearly animals, but we are also
clearly different in very important ways from all the other animals on
Earth.
As you say, there were exceedingly few Japanese taken as
prisoners of war by the United States. Some sources say that as few as 5,000 were taken
by the US and brought to actual camps in the United
States.
Of course, some Japanese were not allowed to
surrender by US troops. It is not surprising that soldiers in the heat of battle would
kill some enemy who were attempting to surrender. So I will not claim that all Japanese
attempting to surrender were treated well at all times. However, the general situation
is that Japanese POWs were treated well.
One reason for
this is that good treatment of the POWs is said to have yielded a good deal of
intelligence. Japanese soldiers were trained to expect terrible treatment at the hands
of the enemy and tended to react well to kind treatment. In addition, they were not
well trained in trying to resist interrogation because they were not supposed to be
captured. The Americans treated them well and got intelligence in
return.
For those few who made it to prison camps on the US
mainland, treatment was good. The Japanese, unlike European POWs, were not made/allowed
to work outside the camps for fear that they would be targeted by angry Americans for
violence. However, the conditions that they experienced inside the camps were, like
those experienced by German and Italian POWs in the US, quite
good.
For more on this subject, see if you can find
book.
The title character of Christopher Marlowe's play
Doctor Faustus has often been called a "Renaissance man," and the
designation seems appropriate in number of different ways. Those ways include the
following:
. . . Regard his hellish
fall,
Whose fiendful fortune may exhort the
wise
Only to wonder at [that is, merely regard with wonder,
not actually perform] unlawful things. (Epilogue,
4-6)
George kills Lennie because he feels responsible for
Lennie's actions. As Lennie's caretaker, he was not there when Lennie accidentally
killed Curley's wife. George now feels that he has to shoot Lennie as a way of showing
some responsibility for what Lennie has done.
Also, Curley
has vowed to make Lennie suffer and George cannot bear to see this happen. The only
solution is to kill Lennie before Curley finds him. Curley is cruel. He will make
Lennie's final death one of agony. George knows this about Curley. He shoots Lennie out
of compassion. He is saving Lennie from brutal
treatment.
George figures that Curley will hang Lennie. He
knows this is a terrible way to die. He would rather shoot Lennie and get him out of his
chance at a gruesome death.
Should Curley not kill Lennie,
Lennie would have to be locked away for the rest of his life. George realizes this would
be tremendous suffering for Lennie. He shoots him to end his possibility of being locked
away for life:
When George hears the men closing in on them, he
tells Lennie to look across the river. As he describes for the last time the farm that
he and Lennie have so long dreamed of, he lifts Carlson’s gun from his side pocket. With
great difficulty he points it at the back of Lennie’s head, and as his hand shakes
violently, George pulls the
trigger.
In the case of the use of "romance" in Saki's "The Open
Window", it is confusing to many readers given the limited understanding of the word
romance.
Typically, romance is defined as a love between
two people or in describing a passionate relationship depicted in movies or texts. Not
many people think about or know the use of the word "romance" as Saki uses it in the
story.
The use of the line "romance at short notice" often
confuses a reader who has limited knowledge of the different meanings of romance. Here,
it is not speaking about love in any way at all.
Instead,
the use of the word "Romance" is used in the following way: the telling of romantic lies
(exaggerated).
Therefore, Vera was very gifted at telling
lies at short notice. This supports the manipulative characterization set up by Saki
throughout the story.
Interestingly, I don't think that this novel actually
gives us an easy symbolic setting in terms of a divide between the country and the city.
Rather, when we focus on the setting in this excellent novel, we need to focus on the
different houses that Edna lives in or stays in briefly and how they act as markers of
her progress and self-development. For example, consider the Chênière
Caminada, to which Edna and Robert escape to. There, Edna finds herself in a
world of romance where she has managed to entirely escape her social roles of wife and
mother that are such an anathema to her. Coinsider what Edna says when she wakes
up:
"How many
years have I slept?" she inquired. "The whole island seems changed. A new race of beings
must have sprung up, leavin gonly you and me as past relics. How many ages ago did
Madame Antoine and Tonie die? and when did our people from Grand Isle disappear from the
earth?"
Being isolated from
her social roles, Edna is left free to construct her own reality and her own
escape.
This is something that we see again in the "pigeon
house" to which Edna moves. Note that she says her reason for leaving her family home is
that "it never seemed like mine," and she can leave behind the elaborate gilded cage
that Leonce had constructed for her. The pigeon house allows her to live her life as she
wants, but at the same time it does not entirely give her the freedom that she
completely desires. The way in which it was originally used to keep domesticated pigeons
hardly bodes well for Edna's chances of gaining her liberty through living there.
Instead, Edna realises that she does not fit in to any location, and that only in death
can she find the true release that she is after.
Thus,
instead of exploring a dichotomy between the country and the city, you need to think
about the various locations in which Edna stays and how they comment upon her
development and her search for freedom.
The role of wealth and friendship are evident in the
character of Antonio. It would seem that he is very rich, although his money is tied up
in his most recent shipping venture. It is also his friendship with Bassanio that
eventually leads him into danger.
Despite the fact that
Bassanio comes from a good family, they are no longer wealthy. In order for him to be
able to woo Portia, he must at least appear to have money. He is forced to ask his
friend Antonio for the money.
Since Shakespeare doesn't
tell us how old Antonio is, exactly what their relationship is up to interpretation. If
he is an older man, their relationship could be like a father/son relationship. If he
is the same age, a homosexual relationship can be implied. There are a number of
possibilities.
Whatever their relationship is, the money is
a huge sum and Antonio agrees to help his friend.
The character who initially makes an allusion to Master
Ridley is the old woman who burns with her books. While her house is burning, she
says:
"Play
the man, Master Ridley, we shall this day light such a candle, by God's grace, in
England, as I trust shall never be put out" (pg
36)
Later, Captain Beatty
will tell Montag (pg. 40):
A man named Latimer said that to a man named
Nicholas Ridley, as they were being burnt alive at Oxford, for heresy, on October 16,
1555.
Nicholas Ridley was the
English Bishop of London for the Anglican church. He supported the movement to place
Lady Jane Grey on the throne when King Edward died. However, when Mary, the daughter of
Henry VIII and Catherine of Aragon, was placed on the throne, he was arrested, tried,
and burned at the stake with Hugh Latimer in 1555. He was one of the Oxford martyrs
that were burned at the stake for heresy. By all accounts it was an extremely difficult
death because the fire was not properly built. These words were supposedly said by
Latimer to Ridley during their execution.
Although the situation in Russia is very sad and
worrisome, it is not terribly surprising. Russia has no tradition or history of
democracy and it is not at all surprising that they have fallen back on authoritarian
government.
In Russia, Vladimir Putin and his people have
been taking more and more power for themselves. It is sad that things have gotten to
the point where the ruling party dictates who can run against them and how much of the
vote they can get. Worse yet, the violence against dissenters in Russia is increasing.
This is a very bad thing for the people in Russia.
However,
it's not surprising. Democracy and freedom are habits built up over long periods of
time. Russia has had essentially no time in which to build up such habits. They are
used to having authoritarian government and they seem to be reverting to that
system.
There are two levels on which to answer this question, the
literal and the figurative.
Literally, when Gardiner refers
to the "rule of the road," he is talking about the rules that govern what you are
allowed to do on the road. He is referring to the anecdote about the Russian woman
walking down the middle of the road and causing traffic problems. That woman was not
following the laws that govern what we may do on roads.
But
there is a figurative meaning here as well. Gardiner is using traffic laws as a
metaphor for the rules (often unwritten and informal) that make society work and that
create community and solidarity in society. The major point of this essay is that
people need to think about how their actions affect others and how they affect society,
not just about what they themselves want to do. In this sense, the rules of the road
are rules of politeness and of unselfishness. They are rules such as "don't play your
trombone too loudly or at the wrong time" or "don't have loud conversations in public
places."
So, the term "rules of the road" is being used in
two ways in this essay.
Rosalind is one of the most charming heroines of
Shakespearan plays. The whole play AS YOU LIKE IT is centred around her and Ruskin
rightly remarked Shakespeare has no heroes,but only heroines.What makes Rosalind
immortal is her
1.FASCINATING PERSONALITY:Rosalind's
fascinating personality is revealed through what she tells others,her sparkling wit and
unfading charm.
2.FRIENDLY RELATIONS WITH CELIA:Rosalind's
love for Celia isdeep,sincere and true.She expresses her true love when she allows Celia
to come with her even after her father is made
duke.
3.PATIENCE AND ENDURANCE:Rosalind continues to live
in the palace even after her fatheris banished bearing all hardships and patiently
endures all the ill treatments of her uncle.
4.ROLE AS
GANYMEDE:Rosalind's role as Ganymede will keep her in our minds for centuries to
come.She donnedthe role of the hero and gave the epliogue,thus showing the power and
depth of her character.
5.NATURAL GAIETY AND
VIVACITY:Rosalind is introduced in a state of melancholy at the beginning.she appears to
be a meek , submissive creature.however as soon as she reaches the forest of arden she
is transformed into a merry,talkative Rosalind.
6.ESSENTIAL
FEMINITY:Rosalind even though in a man's apparel is essentially feminine.She has a
woman's admiration for Orlando.She even swoons when she hears about Orlando being
wounded.She also took pleasure in courting ,wooing and even mockingly marrying Orlando
without him knowing it was her in a man's
outfit.
7.SELF-DEFENCE AGAINST FREDERICK'S ACCUSATIONS:At
the beginning of the play Rosalind is calm and quiet.However when duke Frederick decides
to banish her from his court her disposition changes.She also told it was not her father
who was a traitor and treason was not something that was
inherited.
8.SPARKLING WIT AND LOVE OF INTRIGUE:Rosalind
displays her sparkling wit as well as her love of intrigue as soon as she enters the
forest of arden.She is never at loss for a retort(a quick humorous reply)or a
repartee(quick amusing comment)in her conversation with Tochstone and
Orlando.
9.COMMON SENSE AND INGENUITY:Under the lightness
of her heart and apparent recklessness,there lies a bundle of sound common sense in
Rosalind.She has no sympathy for jaques nor for phebe. She gives Orlando lessons
inprudence derived from her own observation of the world.she shows her ingenuity when
she tells Orlando she had learned magic from her uncle and could cure him of his love
sickness.Orlando and duke senior partially believe
her.
Rosalind is indeed a strong character and is perphaps
the best creation of shakespeare's.
What an interesting concept! I have never come across this
statement in relation to this poem before. We can easily relate it to "Stopping by Woods
on a Snowy Evening" when we consider the symbolic significance of the woods and the
desire of the speaker to stay there and the way that he is almost mesmerised by them.
This is of course balanced by his feeling of obligation and the need that he has to
"keep" the promises that he has made. Consider the final stanza, which is key in
building up this symbolic meaning:
The woods are lovely, dark, and
deep,
But I have promises to
keep,
And miles to go before I
sleep,
And miles to go before I
sleep.
The attractiveness of
the words is indicated through their description of them as being "lovely, dark, and
deep," clearly indicating the way that the speaker wants to spend more time there and
sees them as something of a release from his life in the world. However, at the same
time, he is aware of his many obligations in the world before he can get to "sleep." The
repeition of the final line indicates that this "sleep" may be more than just a
well-deserved night's sleep after a hard day's work, and may actually represent death or
the relinquishing of responsibilities. There is a balance created therefore between our
need to work and to fulfil our obligations on the one hand, and our desire to find
release from work and responsibilities on the other. The poem suggests that it is right
to stop and enjoy silence and solitude, and we need to do this in order to find the
inner-strength to continue with the responsibilities of life.
You might want to respond to this question by refering to
the description we are given of the residence where Tom and his stingy wife live. It is
a key feature of this description that the setting parallels the kind of characters that
dwell there. Consider the following description:
They lived in a forlorn-looking house that stood
alone, and had an air of starvation. A few straggling savin trees, emblems of sterility,
grew near to it; no smoke ever curled from its chimney; no traveler stopped at its
door.
Of course, the hardship
and misery evoked by this description tells us a lot about the characters of Tom and his
wife, in particular focusing on their sterility and their lack of ability to produce any
children, which hints at some kind of rottenness at the core of both their marriage and
themselves as individuals.
The way in which the setting
mirrors the characters in this story is also noted explicitly when the figure of the
devil explains the way in which trees are related to characters in their various stages
of moral decay. Consider the following description:
He now looked around, and found most of the tall
trees marked with the name of some great man of the colony, and all more or less scored
by the ax.
Setting is
therefore shown to be a crucial part in terms of the development of character in this
excellent satire.
There were some upheavals in Germany as the war went on,
with the upheavals becoming particularly intense and disruptive in
1918.
During the war, Germans suffered more than people
from nations like France and England because they had much less in the way of food and
other consumer goods. This was largely because Germany imported many of the things it
needed and was cut off from its suppliers by the Royal Navy. Because of this, there
were strikes in which people demanded more food as early as
1917.
During 1918, things became much worse. There were
more strikes and even marches demanding an end to the war. Most importantly, the German
navy staged a mutiny when it was ordered to go out to fight the British navy at a time
when it was clear that the war was already lost. This mutiny ended up toppling the
monarchy and helping to lead to the end of the war.
Harriet Wheelwright, the narrator's grandmother, is the
matriarch of the Wheelwright family, and for that matter, of the town. Her husband died
young and left her not only a considerable amount of money, but a fairly considerable
reputation. She herself, according to the narrator, is a descendant of John Adams, and
her family originally came to America on the Mayflower. As a result, she is prim and
proper (though very loving) and she lives in a very large house. What is most important
about her is her distinct connection to the institution of the name "Wheelwright." It
is as if she is the last one of the Wheelwrights to truly embody the meaning of the name
in the town. Consider the following (from pgs
6&9):
Let me say at the outset that I was a
Wheelwright--that was the family name that counted in our town: the Wheelwrights. And
Wheelwrights were not inclined toward sympathy with Meanys...And I never suffered in
those years that I had her name [meaning his mother's]; I was little Johnny Wheelwright,
father unknown, and--at that time--that was okay with
me.
Tabitha Wheelwright, the
narrator's mother, is only alive for the very beginning of the book. Unlike her own
mother, she is much more unconventional, and does not seem to uphold the same standards
of the reputation of her last name. She is both prim and proper, but in a different,
more modern way. She has a child out of wedlock, for example, and keeps the father's
identity a secret from everyone, including her son. Furthermore, she is young and very
attractive mother. She does nothing to downplay her physical beauty, a fact which
causes the men's heads in town to turn, the women to be suspicious and jealous, and
Johnny's friends (including Owen), to lust after her. Owen, of course, has more than
lust for her beauty. He confesses throughout the book that he is completely in love
with her, and likely this is true, which is why, when it is his
foul ball that kills her, he feels an indelible need to sacrifice something of himself
for his friend Johnny. Tabitha provides a personal connection between Johnny and Owen
for life.
Finally, Dan Needham, Tabitha's new love
interest, is in important constant throughout Johnny's life. Though they are leery of
him at first, Dan quickly grows on both the boys (with the introduction of the stuffed
armadillo) and after Tabitha's death, Dan legally adopts Johnny. Though a man of few
words, he seems to have a natural sense of understanding about him, to those around him,
especially his students (including Johnny and Owen). Dan's constancy is what is
important about him, throughout the story.
First of all, we must note that this question presupposes
that Keynesian economics is correct. Not all economists agree that this is so. If
Keynesian economics is valid, its benefit today is that it could get an economy like
that of the US out of its recession.
Keynes argued that
capitalist economies can remain below full output for long periods of time. Classical
economics does not believe this is true. Classical economists would argue that the
government should leave the economy alone and let it rebound
naturally.
It would appear that our economy has been
underperforming for some years now. If Keynes is right, government policy makers should
cut taxes and increase spending. This would cause our deficit and our debt to increase,
but it would be worth it because consumers would have more money to spend. They would
spend the money, thus increasing aggregate demand and getting the economy growing
again.
If Keynes is right, then, following his
recommendations would get our economy out of its slump.
It is possible to solve this system using the
Linear Congruence Theorem and the Extended Euclidean
Algorithm.
We must solve the following system of
linear congruences:
`x -= 2 (mod
3)`
`2x -= 3 (mod 5)`
`3x -= 4
(mod 7)`
Conveniently, the first congruence is already
written in terms of x. We can alternatively write this as x = 3k + 2.
We will substitute of x into our next
equation:
`2x -= 3 (mod 5) implies 2(3k +2) -= 3(mod 5)
implies 6k -= -1 (mod 5)`
Then solving for k using the
technique described on the Linear congruence theorem reference page, we find ` k -= 4
(mod 5)` , or k = 5l + 4
Plugging this
back into our equation for x, we find
`x = 3k + 2 = 3(5l +
4) + 2 = 15l + 12 + 2= 15l + 14.`
We can then plug this
into our last equation.
`3x -= 4 (mod 7) implies 3(15l +
14) -= 4(mod 7) implies 45l -= -38 (mod 7)`
Then solving
for l, we find ` l -= 1 (mod 7)` , or ` l = 7m + 1`
.
But we know x = 5l + 5, so plugging this back in we find
that
`x = 5(7m + 1) + 5 = 35m + 5 + 5 = 35m + 10`
.
Therefore, the solution to the system is `x
-= 10 (mod 35)` .
Put sqrt3+i=t => z^5=t =>
z=(t)^(1/5)
Use polar form for
t:
t = r(cos theta+i sin
theta)
r=sqrt((sqrt3)^2+1^2) => r=sqrt4 =>
r=2
Use the formula to express theta: tan theta=coefficient
of i/number alone= imaginary part of complex number/real part of complex
number
tan theta=1/sqrt3 => theta=30 degrees or pi/6
radians
t=2(cos(pi/6)+isin(pi/6))
z=(2)^(1/5)*(cos(pi/6)+isin(pi/6))^(1/5)
Use
De Moivre's
theorem:
z=(2)^(1/5)*(cos(pi/6+2npi)/5+isin(pi/6+2npi)/5)
Answer:
put n=0=>z=(2)^(1/5)*(cos(pi/30)+isin(pi/30))
put
n=1=>z=(2)^(1/5)*(cos(13pi/30)+isin(13pi/30))
put
n=2=>z=(2)^(1/5)*(cos(25pi/30)+isin(25pi/30))
put
n=3=>z=(2)^(1/5)*(cos(37pi/30)+isin(37pi/30))
put
n=4=>z=(2)^(1/5)*(cos(49pi/30)+isin(49pi/30))
I think that one of the most critical rhetorical devices
that Old Major uses is the connection with his audience. Old Major specifically speaks
to the animals in a manner that makes relevant his ideas. For example, he specifically
refers to Boxer being taken to the Knacker's. This is something that is a fear for
animals like Boxer, and in doing so, Old Major is able to directly connect what he is
saying to the audience listening. Another rhetorical device is that Old Major offers a
contrast between what is and what can be. This parallel provides a sense of hope to the
animals, and allows for a sense of inspiration to be present. Old Major's inspirational
quality is something that enables him to be able to reach the animals in a way that
allows them to see what can be. This is seen particularly in the pigs, who sit in the
front and pay attention to what is being said. Old Major's stress about his own age is
another rhetorical device that helps to bring out his ideas to the audience. His
fundamental argument is that none of what he says is for his benefit, as he is going to
be moving on soon enough. Rather, he speaks for the animals and those who will come
after him. In this, he is able to provide another connection of meaning to his
audience.
Evidence there might be, but the evidence pointing to the
narrator's insanity is more reliable. Still, that's not the
question you asked, so let's see what we can make of
it.
First, while we can't put
much stock in the character's own assertions of sanity, his rational does make some
sense. "Madmen know nothing," he says, going on to describe in detail the preparations
he made for doing away with the old codger. He has a point. His ability to
calculate and plan could be seen as evidence that he is not
insane.
Secondly, he
is able to understand right and wrong. This is very important, as it is often
the crux of an insanity defense. He knows that what he is doing is wrong because he
takes care to dismember and hide the body. Were he truly insane, the concept of right
and wrong would elude him and he wouldn't go through such efforts to avoid
detection.
Thirdly,
guilt. The level of guilt he feels is enough to
cause him to confess at the end of the story, even though he has every chance of getting
away with the crime. Guilt shows a certain level of conscience, and this is not a
hallmark of the insane.
I suppose it depends a lot on the
definition of insanity. Most of us would call him crazy, but legally
it could be argued that he's not. A crazy person would act on impulse, not
attempt to conceal the crime, and not feel guilty about it. The narrator here defies
all these conventions.
Various characters in Flannery O’Connor’s short story “A
Good Man Is Hard to Find” challenge readers’ conventional notions of goodness in a
variety of ways, including the following:
"In my time," said the grandmother, folding her
thin veined fingers, "children were more respectful of their native states and their
parents and everything else. People did right then. Oh look at the cute little
pickaninny!" she said and pointed to a Negro child standing in the door of a
shack.
In describing this
incident, O’Connor juxtaposes the grandmother’s pride in the morality of the past with
an unfortunate example of her own racism in the present. The grandmother, of course, is
not nearly as virulent a racist as she could have been, but her comment here is
sufficient evidence that she has too simple and shallow an understanding of
goodness.
The memoir, Night, is filled with
figurative language from start to finish. In describing Moishe the Beadle, Wiesel
states, "...he was as awkward as a clown" (3). This simile allows the reader to create
an impression of Moishe's actions. Throughout the novella, Wiesel frequently uses
comparisons to animals. Some of the many similes include, "They passed me by, like
beaten dogs..." (17), or "...kill us like that, like cattle in the slaughterhouse"
(31). An example of a metaphor is Elie's description of his mother's face, "...she was
walking, her face a mask..." (19).
Through the use of
figurative language in Night, one can gain greater insight into the
pain and suffering felt by prisoners in the concentration camps. Wiesel uses
comparisons to things the average person understands: a clown, a dog or a mask. In
doing so, Wiesel helps the reader enhance their understanding of the horrfic nature of
the Holocaust.
The setting of the story "The Open Window" by H.H. Munro
(Saki), is the Stappleton house: A house in the country, we can assume it to be a
country estate, often owned by the Victorian and Edwardian middle classes to spend time
with nature after the London season is over.
A country
house is an interesting setting for this story because it immediately instills in the
reader a feeling of isolation, separation, and quietness. This, combined with the fact
that Mr. Nuttel went there to cure his nerves, hints at a semi-Gothic scenario involving
a lonely place in the middle of nowhere.
This is effective
because, as we see later, the story that Vera creates to scare Frampton is quite eerie
and goes perfectly well with the atmosphere of the place: Foggy, quiet, isolated. In a
typical Gothic story, something creepy always happens in a setting of that kind. Saki
treated this "horror" aspect of his funny short story by providing the perfect scenario
in which Vera's story would seem valid.
In Alice Walker’s short story “Everyday Use,” Mama feels
comfortable leaving the quilts to Maggie rather than to Dee (Wangero) for a number of
reasons, including the following:
When I looked at her [that is, Maggie] . . .
something just hit me in the top of my head and ran down to the soles of my feet. Just
like when I’m in church and the spirit of God touches me and I get happy and
shout.
Gandhi sees education as a pursuit for moral and spiritual
truth. In works such as Hind Swaraj, this is seen in a
demonstrative manner. Gandhi believes that the purpose of education is to reveal this
notion of spiritual and developmental truth. Education is a field which is meant to
explore this notion of transcendental being in the world. Accordingly, individuals who
accept it, must also capitulate to it, representing the basis of education and knowledge
in the world. There are some points of assessment here. The first would be that I
think that there is something to be said in associating education with a belief of some
higher notion of truth. This is one of Gandhi's strengths in his idea of education. It
is meant to reveal the essence of being in the world, and learning is seen through this
prism. Naturally, a potential drawback would be if individuals fail to embrace this
truth. Essentially, Gandhi's system is demanding that individuals accept a morally pure
state of consciousness and transfer this to their education. This is where there might
be a considerable drawback to Gandhi's system of education. Consider that if the
revelations of priests, for example, violating their sacred oaths and callings to commit
horrific acts upon children are valid, then it stands to reason that empowering anyone
with the presence of "transcendental" truth could prove to be destructive. Clever or
disturbed individuals who are empowered with Gandhi's sense of finding truth and being
able to relay this to vulnerable and impressionable students could manipulate this to
their own benefit.
William Faulkner's use of a non-linear time frame, with
constant flashbacks and foreshadowing, is one of the most distinctive aspects of "A Rose
for Emily." Opening the story with the death of Miss Emily and then concluding it with
her funeral (and the bizarre aftermath), Faulkner fills in the gaps of Emily's life in a
series of non-sequential flashbacks, explaining her actions and events that led to the
macabre discovery in the final paragraphs. In doing so, Faulkner's narrative, apparently
through the eyes of a detached member of the community, creates an apprehensive mood
that adds to the mystery of the story. The opening paragraph, describing the funeral
(but not the townspeople's inspection of the inside of her house), suggests that there
is more to the story than just her death. It immediately builds suspense, an element
that would be absent if the story had been told in chronological fashion. The narrative,
with its leaps forward and backward in time, creates the impression of a story being
told long after the event, much in the way an aging storyteller might hesitatingly
recall the facts many years in the future.
Faulkner's
deliberate shifts in time may also be a way of emphasizing Miss Emily's own refusal to
change with the times. Miss Emily was a relic of the past, living in a decrepit old
house, witnessing the changing world of Jefferson--and the disappearing ways of the Old
South--around her. Her one attempt at change was rebuffed when Homer refused to marry
her, and she retreated to her old ways--scorning visitors and neighbors and watching the
world around her from the limited view of her window.
Since author Edgar Allan Poe does not specify the year,
location or type of disease in his macabre short story, "The Masque of the Red Death,"
we can only speculate upon the actual type of disease. Poe uses the word "pestilence" to
describe the Red Death, and he seems to have deliberately avoided using the word
"plague." One would assume that the pestilence was akin to the Black Death, a plague
which devastated Europe during the 14th century. It wiped out nearly half of Europe's
population, and it returned intermittently until it was finally eradicated for good in
the 19th century.
According to Poe scholars, Poe may have
been using the Red Death to illustrate the devastation that tuberculosis was wreaking on
Poe's family and friends, including causing the death of his wife, Virginia. Incurable
and fatal at that time, tuberculosis would not have caused such a swift end as the Red
Death, however. Yet another critic claims that the Red Death was not a disease but Death
himself, shrouded in mask and costume and in human form.
Gustave Klimt was a fin de siecle Viennese artist who is
generally considered part of the Symbolist Movement. Although his early training was in
the predominant academic style, his work exhibits the eclectic influences common to the
Symbolists. As a leading member of the Vienna Succession he was actively engaged with
other artists of his period.
His hallmark "gold phase" was
strongly influenced by Byzantine art; there are striking similarities to the Byzantine
mosaics of Ravenna, and Egyptian influences are also prminent. In his use of layering
small blocks of colour, taking mythic themes, and mixing realistic faces with highly
artificial ornamental clothing and backgrounds, Klimt exhibits strong similarities to
the works of Gustave Moreau, a slightly earlier French painter.
Rust is the generic name for iron oxide, Fe2O3
(subscripts). Iron, in the presence of oxygen, using water as a catalyst, will form
rust. Rust is the corrosion of iron. It typically occurs at surfaces exposed to the
elements, where oxygen and water are readily available. Depending on the availability
of of oxygen and water, it makes use of two chemical
formulas:
(Fe2+) + 2(H2O) ---> Fe(OH)2 +
2H+
(Fe3+) + 3(H2O) ---> Fe(OH)3 +
3H+
Rust can have a red physical color, although in marine
environments, in the absence of oxygen, a green color is manufactured. It should be
noted rust does not insure any protection to underlying layers of
iron.
To protect iron from rusting, protective layers of
coatings must be applied. Stainless steel, or chromium (III) oxide, provides such a
coating. The process of galvanization, which coats the iron with a protective layer of
zinc, is another process which slows the corrosive process. In harsher, more corrosive,
marine environments, cadmium is a more suitable protective
coating.
The above answer deals with Confucian examinations, etc.
which was practiced during the Classical Chinese period. Confucianism never appeared in
China before the Period of the Warring States, and indeed was a response to that period.
For that reason I respectfully believe the above answer is not responsive to the
prompt.
Social and class distinction appeared early on in
Chinese History. Only members of the nobility were allowed to collect taxes, which were
paid by the lower classes. Only the upper classes held military or administrative
positions within the government. Only the upper classes had extensive land holdings
while the poor worked in the fields of the well to do. Class was determined by birth, so
ones status and chances of success in life were in fact determined at birth and did not
change. The upper class had a much richer and more nutritious diet (meat and game) than
the lower classes; and also lived in palatial mansions made of pounded earth; whereas
the poor ate only porridges and lived in below-ground
dwellings.
Ancient China was a strongly patriarchal society
in which men held all positions of authority. Important women in society were honored
only in relation to their husbands. So strong was the patriarchal system that
inheritance, which previously had been matrilineal became patrilineal. Foot binding,
mentioned in the above answer, only became popular during the classical period, later
than the ancient period.
As the protagonist of "A Worn Path" by Eudora Welty,
Phoenix Jackson is much like the other minor characters of the story, a stock
character. But, she represents the enduring spirit of the oppressed, as her name
indicates. When, for instance, she sees a buzzard, she calls out to it, "Who you
watching?" Perceiving something coming towards her later on, Phoenix calls it a
ghost, but realizes it is a mere scarecrow. "I too old. I ought to be shut up for
good," she laughs at herself as she continues the path to the
clinic.
When the white hunter with his dogs happens upon
her, he lightly ridicules her asking why she is in a ditch. Phoenix jokes herself,
saying she is lying on her back like a June bug. Further, she tells the hunter who
suggests that her destination is too far that it is time for her to
go:
"I bound
to go to town, mister....The time come
around"
Then, when the hunter
points his rifle at her, and Phoenix does not move, "Doesn't the gun scare you," the
hunter asks. But, Phoenix quietly replies that she has seen such
before:
"No,
sir, I seen plenty go off closer by, in my day, and for less than what I
done."
Phoenix does not
waiver from her purpose. As she arrives, exhausted, at the clinic, Phoenix announces
almost with ceremony, "Here I be." But, she is treated with disrespect, as an attendant
asks if she is a charity case. A nurse approaches, speaking of her, using the
deprecatory "Aunt" for an older black woman:
"Oh, that just old Aunt Phoenix...She does't come
for herself--she has a little grandson. She makes these trips just as regular as
clockwork. She lives away back off the Old Natchez
Trace."
All the while,
Phoenix merely waits and stares straight ahead with a solemn face that is rigid and
withdrawn. Finally, she explains why she has come, to remeber hergrandson and remember
him "from all others":
"We is the only two left in the world. I am not
going to forget him....I remembers so plain now. I not going to forget him again, no,
the whole enduring time. I could tell him from all the others in
creation."
Rising from the
ashes of her exhaustion, Phoenix Jackson takes the medicine for her grandson, along with
the few pennies that the attendant gives her, and sets out for the store to buy her
child a little windmill. "I'll march myself back where he waiting, holding it straight
up in his hand." Driven by love, Phoenix sets out anew upon the worn path, a character
who represents the power of love and the power of determination. She seems immortal like
her namesake.
In Ralph Ellison’s Invisible
Man, the narrator is troubled by the words of his dying
grandfather. In essence, his grandfather advises him to perpetuate dual existence – an
outward conventionality and an inward rebellion. He instructs him to always offer
courteous and submissive responses to whites, while inwardly scheming to overcome the
oppression that they impose on blacks. Initially, the narrator dismisses his
grandfather’s words as idiotic rambling.
On the
night of the battle royal, the narrator is forced to at least contemplate his
grandfather’s words. When the young black men are blindfolded and thrown together to
viciously fight one another for the white men’s pleasure, the narrator is mortified.
Still, he composes himself and delivers his graduation speech to the boisterous crowd.
In this instance, he offers words of submission and humility despite his feelings of
disappointment and dissatisfaction. He behaves contentedly although he suffers in
misery. The audience, composed of white men, accepts the duplicity and rewards it with a
gift and a scholarship to college.
You might want to consider the way that Keats uses
alliteration as part of the sound effect of this tremendous poem to create an image of
the richness of autumn and how nature burgeons at this time of year. Consider the
following example:
And fill all fruit with ripeness to the
core;
To swell the gourd, and plump the hazel
shells
With a sweet kernel; to set budding
more...
The alliteration in
"fill all fruit" emphasises the cornucopia of nature in this season, and words such as
"swell" and "plump" are richly onomatopoeic in the way that they point towards images of
bounty and plentiful harvest. Likewise, the repetition of the word "budding" in its
various forms serves to reinforce this overwhelming impression of plenty. Nature's
productive and fecund properties are therefore enacted and supported by the sound
effects that Keats uses in this excellent poem.
The obvious answer to this question is that Lily feels a
number of different emotions during the course of the book, related to both the events
that happen to her and her own personal development and changes. You might need to be a
tiny bit more specific. Is there a particular part of the book you are referring
to?
Otherwise, you might find it helpful to focus on the
key transition points in this novel. For example, the anger that Lily feels at the
beginning of the book which causes her to leave her father with Rosaleen is a good
section to look at, as is the part when Lily has her chat with August concerning her
mother. For example, Chapter 12 is a key chapter because we see a shift in Lily's
emotions. Beforehand she is consumed with self-hate and feels that she is completely
unlovable because of her guilt at having murdered her mother. Consider how she describes
herself to August, saying she is "unlovable." However, what August says to her manages
to change her belief about herself:
But you're not unlovable. Even if you did
accidentally kill her, you are still the most dear, most lovable girl I know. Why,
Rosaleen loves you. May loved you. It doesn't take a wizard to see Zach loves you. And
every one of the Daughters loves you. And June, despite her ways, loves you,
too.
What August tells Lily,
both concerning how she is loved and the truth about her mother, changes Lily
emotionally. She moves from hating herself to hating her mother. Key transition points
in the novel are very important to discover to trace the changes in emotions that Lily
experiences, and there are several such moments in the novel.
Hamarta, as detailed by Aristotle in
Poetics, is defined as a fatal flaw, or more commonly a
mistake.
Agamemnon showed hamartia in many
things.
1. Agamemnon showed hamartia by walking on the
tapestries which depicted images of the gods.
2. Agamemnon
accepted honors which many deemed extravagant.
3. Agamemnon
asks for men to show him reverence even though his declares himself to be a mortal man
and not a god.
4. Even though he stands on the tapestries
showing the images of the gods, Agamemnon declares that he should not be struck down by
the wrath of the gods.
Overall, Agamemnon declares himself
to be more powerful than that of the gods. His outright disdain for the power of the
gods, and his claiming to be held up like a god, proved him to be filled with a fatal
flaw, or hamartia.
Atticus Finch is colorblind when it comes to a man's skin.
He treats all people--black and white--the same, and as Miss Maudie says, "Atticus Finch
is the same in his house as he is on the public streets." Concerning the upcoming trial
of Tom Robinson, Atticus wonders
"Why reasonable people go stark-raving mad when
anything involving a Negro comes up, is something I don't pretend to
understand."
When Scout uses
the word "nigger" in his presence, Atticus tells her,
"Don't say nigger, Scout. That's
common."
" 's what everybody at school says."
"From now on, it'll be
everybody less one--"
Atticus
has previously stated that a jury can't be expected to take a black man's word over a
white man's, but in his final summation of the trial, Atticus pleads with the jury to
disregard their racial biases and Tom's skin color. He asks them to do their duty
without passion. Concerning Mayella Ewell's actions, Atticus reminds the jury
that
"She was
white, and she tempted a Negro. She did something that in our society is unspeakable:
she kissed a black man... No code mattered to her before she broke it, but it came
crashing down on her afterwards."
Like most romantics working in tradtional poetic forms,
Shelley reaches outside the usual conventions in some areas. First, the range of
emotions is expanded; Shelley uses ejaculations and intense imagery to reveal his
passions, whereas poets within the neo-classical tradition maintained an even, sombre
tone, as Thomas Gray does in Elegy Written in a Country Churchyard. Second, Shelley
works in his own agenda, touching on personal and political issues that have little to
do with Keats, the subject of his mourning. Nevertheless, Shelley uses a tight stanzaic
form, evokes classical figures, touches on universal themes such as love and death,
personifies inanimate elements, and sustains lofty diction
throughout.
The best way to have this book appraised is to find a rare
book dealer and someone authenticate the signatures.
Both
of these services can cost you. Book appraisers typically charge by the hour depending
on location and quality of the dealer/appraiser. Signature authenticators work the same
way.
Basically, the value of the book will be determined in
one of two ways.
First, if the book itself is rare it will
be given a fair market value or approximate auction
value.
If the signature is real, it will most likely add to
the suggested value of the text.
Outside of that, the
condition of the book is very important. Is the binding tight? Are there any pages
damaged or torn? Has it been written by someone well-known for penning this type of
text? Are the edges bent or stained?
Again, it is very hard
to make an appraisal over the phone or by using photographs. Your best bet is to simply
take it to someone and hope you have a rare find on your
hands.
Best of luck!
Well, considering that Despereaux is a mouse full of
problems, answering this question is a pretty tough task, ... or perhaps I should say a
tough quest. Therefore, considering your question is quite
general, I will focus upon the completion of Despereaux's quest: rescuing the Princess
Pea from the dungeon.
In reality, the answer to this
question lies in the full title of this novel which is The Tale of
Despereaux: Being the Story of a Mouse, a Princess, Some Soup, and a Spool of
Thread. Each of these four "items" has its place in solving Despereaux's
problem. That being said, there isn't really one thing that solves Desperaux's
problem. It is a combination of things. However, the main thrust of the problem is
solved through Despereaux's bravery: his willingness to go back into the dungeon by
choice.
He
had nothing but a sewing needle with which to defend himself. he had to find a
princess. And he had to save her once he found her. "It's impossible," he said to the
darkness. "I can't do it." He stood very still. "I'll go back," he said. But he
didn't move. "I have to go back." He took a step backward. "But I can't go back. I
don't have a choice. I have no choice." He took one step forward. And then another.
"No choice," his heart beat out to him as he went down the stairs, "no choice, no
choice, no choice."
The irony
here is that Despereaux does in fact have a choice, and he chooses
to save the princess. Then the ball is set in motion. Despereaux drops the spool of
thread which rolls into a horrid rat who smells soup on Despereaux's whiskers. In hopes
of a meal, this rat leads Despereaux directly to the princess. The Princess Pea,
Roscuro (the kidnapper-rat), and Miggery Sow (the poor, misguided servant girl) are
sitting in the dungeon at an impasse until Despereaux's cry of "PRINCESS! ... Princess,
I have come to save you!"
Suddenly, the smell of soup on
Despereaux's whiskers sparks an epiphany in Roscuro, who realizes he doesn't want to do
these bad things, ... he only wants light, ... and soup. The Princess Pea promises
Roscuro soup, ... and that is how they exit the
dungeon.
Thus, the phrasing of the question "how does
Despereaux solve his problem?" is a bit misleading. He solves his problem through
bravery, but it is a collaboration of bravery and epiphany and even serendipity that
leads the reader to resolution.
The Electoral College certainly does help to create a
winner take all approach to presidential campaigns in each state of the Union. This is
because the winner of the voting in each state takes all of that state's
votes.
The main reason why this matters is that candidates
tend to take the attitude that only states whose results are in question are important.
If a candidate is sure that he (or eventually she) will win a state, he will not bother
to campaign there. There will be no benefit to going to such a state because winning
more than a plurality of the vote is not valuable. If the candidate knows he will win
the state by, for example, 52% to 48%, there will be no point in campaigning there in an
attempt to get to 55%.
In this way, the Electoral College
does promote a winner take all approach to presidential
campaigns.
The Clouds represent the `new education`offered by both
the historical Socrates and the sophists and the better logos (or superior argument)
represents traditional Athenian education. One major difference is subject matter. The
traditional education emphasized gymnastics as preparation for military service.
Gentlemen were also expected to learn how to play a musical instrument, have mastered
basic literacy and numeracy and know Homer and traditional poets. The teaching methods
tended towards rote memorization. The new tertiary education involved abstract
knowledge. The philosophers emphasized theoretical knowledge of subjects like physics,
epistemplogy, and ethics, and the sophists rhetoric, and the ability to speak well in
assemblies and law courts. The methods of the new education involved more dialogue and
question and answer. The outcomes, as portrayed in Clouds were quite different, with
procducts of the old education serving in the military and running their country
estates, and products of the new education earning their livings by cheating and
blackmail in the ever-expanding law courts.
In the story " A Rose for Emily" by William Faulkner, the
main character of Emily Grierson, also known as Miss Emily, is meant to represent a
far-gone society refusing to accept the changes that come with the passing of time. Miss
Emily's character also embodies co-dependence, terror of change, the inability to move
on, and the refusal to let go of the past.
This means that
the character of Miss Emily gives Faulkner an ample array of possibilities for using
literary techniques, namely symbolism, to add mystery and (as your question states)
depth and sophistication to the story. After all, the story is a representative of
Southern Gothic literature, which means that symbolism is a required, if not expected,
literary element.
One example of symbolism is found when
Miss Emily's house is described as "an eyesore among eyesores". This particular home is
described as one who once was regal, sumptuous, and respectable. Yet, as time changed
around the Griersons, the house (and those in it), became archaic.
The description shows that the past is now gone for good,
and still Emily intends to stick to what once was, without being
successful.
It was a big, squarish frame house that had once
been white, decorated with cupolas and spires and scrolled balconies in the heavily
light some style of the seventies, set on what had once been our most select street. But
garages and cotton gins had encroached and obliterated even the august names of that
neighborhood; only Miss Emily's house was left, lifting its stubborn and coquettish
decay above the cotton wagons and the gasoline pumps—an eyesore among eyesores. And now
Miss Emily had gone to join the representatives of those august names where they lay in
the cedar-bemused cemetery among the ranked and anonymous graves of Union and
Confederate soldiers who fell at the battle of
Jefferson.
Another
interesting and symbolic episode occurs when the town of Jefferson, in moving on with
the times, began getting mail in a new way:
When the town got free postal delivery, Miss
Emily alone refused to let them fasten the metal numbers above her door and attach a
mailbox to it. She would not listen to
them.
Both of these examples
are symbols of how Emily represents an inability to let go of the past, and the fear
that inhabits every person about moving on and getting on with the times.
Finally, there are several times in the story when the
"closed doors" in Emily's house is continuously mentioned. One remarkable part is when
it says that, when people stopped going to her painting lessons, and she closed the
door, forever.
The front door closed upon the last one and
remained closed for
good.
This is a symbol of the
most salient theme in the story, which is isolation.
In
all, Faulkner uses common objects and actions in a way to represent other things and
instill in the reader curiosity and mystery as well as sophistication and depth.
