See? This is more fun than sitting around complaining about your girlfriend! Now you're acting like the Romeo we know!
Shakespeare's language is, of course, what is termed "early modern English," and can be difficult for modern Americans. He himself felt that Chaucer was the best writer in England's history, and that it was a shame the language had changed so much that people had a hard time reading his work. Another example of how the more things change, the more they stay the same.
One of the ironies of Shelley's Frankenstein is that in spite of the atrocities the monster commits, readers tend to view him with more sympathy than they do Victor Frankenstein.
Diane Johnson, in her introduction to the Bantam Books edition of the novel, writes:
The moral ugliness of Victor's lies is expressed in the monster by his hideous countenance; what is inside Victor is exteriorized, and of course excites universal antipathy among the other characters in the novel, though it strangely invites the affection of readers, who are usually agreed that the monster is sympathetic however horrendous his deeds. (xvi)
In other words, Victor's immoral decisions concerning the creation of the monster are present in the monster's appearance, but readers tend to blame Victor, not the monster. Blame is further given to Victor in the novel by the nature-nurture theme. The monster becomes what he is because he is not nurtured by Victor. Left on his own, natural man can become a monster. Victor is responsible for nurturing his creation, and he fails that responsibility.
Finally, the monster is very much the alter-ego of Victor. The monster is Victor's wild, untrained side.
There is much evil to go around, and if anything, Victor is more to blame for events than the monster.
I won't attempt to actually go back and count the number of times the various characters meet in a family atmosphere in The Outsiders. Aside from the parentless Curtis family, there are not really many examples of family gatherings. Johnny mentions his family a few times, but there are actually no scenes where they are together except when his mother comes to see him in the hospital. Dally has no family living with him in Tulsa. None of the other greasers' families are mentioned much; Tim Shepard discusses his brother, Curly, but he is in a reformatory and not actually present in the novel. The Soc, Randy, talks about his father following Bob's death, but it is only in passing.
There are quite a few scenes in which the three Curtis brothers--Ponyboy, Sodapop and Darry--are together. Despite the fact that their parents have been killed, this threesome constitutes the only real family in the novel. Of course, the greasers talk about how their gang is like a family, so Johnny, Steve and Two-Bit (and to some extent Dally) are extended members. Pony also reminisces about his parents on several occasions.
In the beginning of "A Small, Good Thing," the baker is a cantankerous and brusquely unpleasant fellow. After the accident, when Ann fails to go in Monday morning to pick up the birthday cake ordered for Scott's eighth birthday, the baker begins calling their house leaving curt and indecipherable messages about the cake they failed to pick up, while thinking of course of the time and cost needed to bake it and the loss of profit from having to sell it as a day-old, two-day-old, even three-day-old cake.
After Scott's painful death, Ann has a spark of relization and understands that the unpleasant baker has been calling to give her grief because of the uncollected--and unpaid for--cake. She and Howard go to the bakery in the dead of night, knowing the baker is there because he just phoned, and bang on his door. In response to the baker's rude, curtness, Ann bursts out in anger at the baker's behavior with the horrible truth that Scott is dead. This is what prompts the change in the baker.
He stops what he has been so busy about and invites Ann and Howard in and offers them chairs to sit on. He then brings them fresh, sweet cinnamon rolls to eat, saying that eating something at a time of shock and mourning is a good thing to do. He sits with Ann and Howard while they eat rolls and he tells them how lonely it feels for him to be without children and to work at a mechanical job to feed the children of other people at other people's celebrations. The baker changes because he has a chance to comfort others by exposing his own suffering, and together they watch the dawn of hope for each of them as the newly arising sun glows palely through the window.
Ichabod knows that his horse, Gunpowder, is no match for a demon horse:
"What was to be done? To turn and fly was now too late; and besides, what chance was there of escaping ghost or goblin, if such it was, which could ride upon the wings of the wind?"
So he tries to show some courage by stammering out "Who are you?" He received no answer from the horseman, so after asking it again (and again receiving no reply), he started whistling a tune and prodding Gunpowder forward. The Horseman stayed right with him until finally Ichabod got Gunpowder running toward the bridge. It was Ichabod's hope that if he could just get across the bridge and reach the church he would be safe.
Well, no character has just a single characteristic, but if I had to name just one, in Hemingway's world, Wilson is masculine. He is a hunter, he's confident, he's calm, he's assertive, and all of those describe him (though technically "hunter" is not an adjective).
If you'd accepted other terms based on his emotional tone, he is cool, judgmental, and opportunistic. Finally, he is flexible/adaptable: he can change to meet the needs of the situation, which Macomber cannot.
Most of what is known about Shakespeare's views, philosophy and attitude toward life are inferred indirectly from the themes of his plays and poetry. Nothing is extant or mentioned in history in which Shakespeare gives any kind of an autobiographical account of himself. However, the themes that appear repeatedly in his works do provide some insight into the inner realm of Shakespeare's thoughts.
We know from history that Shakespeare admired Queen Elizabeth I very much and that the admiration was mutual, meaning Queen Elizabeth also admired his work, even attending his plays from time to time. Shakespeare extended this admiration to craft a new definition of women and their role in life.
This is most evident in Much Ado About Nothing in which he names the heroine "Hero" and proceeds to have her play the role that is usually reserved for the valiant hero: she figured out the solution to the problem; she orchestrated its enactment; she set the plot to undo the villain; and she proved the heroine (herself) to be innocent and trustworthy.
This theme of the power and heroism of women is retold in several other plays, such as As You Like It. The concept is notable because it goes against conventional wisdom that had women cast as untrustworthy because they were seen in religious terms as the ones who were beguiled (tricked) into causing the downfall of humanity in the Judeo-Christian creation story.
Other notable themes that reveal information about Shakespeare's personal view, attitude and philosophy are:
1. The nature of love, which he depicted as needing, first, a reason firmly rooted in valuable character traits and, second, a balance between order and inspiration, as seen in A Midsummer Night's Dream;
2. Protestantism, which he depicted as a higher moral pathway than Catholicism, as is seen in the Protestant/Luther allusions in Hamlet;
3. Virtue and madness, which he depicted in plays like Hamlet and King Lear and Macbeth showing that the quest for virtue may drive to madness as surely as the abandonment of virtue may drive to madness, indicating a balance here too is needed for success and sanity.
Another play that reveal his inner thoughts and beliefs is The Merchant of Venice in which he reverses Much Ado About Nothing and explores a hero as a cruel villain by showing Antonio as a heartless man to citizens guilty of nothing while being a loving friend to grasping, incompetent friends.
We might conclude from this that (1) Shakespeare was willing to embrace changes in society as brought about by Elizabeth I's reign and go a step further and see all women in the new light of Elizabeth; (2) he believed love must have reason to exist and be tempered, balanced, by both order and passion (3) he had high ideals of right and wrong and significant Protestant religious faith; (4) perceived virtue as a high attainment and as delicately balanced rightness and vanity.
While Holmes and Watson are still in London, Dr. Grimesby Roylott comes to visit them at Holmes's place. I guess it would be more accurate to say that he barges in to Holmes's rooms very rudely.
The reason he has come is that he wants to find out what his stepdaughter has been doing. He knows that his stepdaughter has been to see Holmes and he wants to know what she asked Holmes about. Holmes does not tell him -- in fact, Holmes kind of baits him, trying to get him angry, it seems.
Roylott gets angry enough that he bends Holmes's poker and then leaves.
Your question is vague. Initially, Beatty sends the Mechanical Hound to Montag's house because Beatty suspects that Montag is hording books. He does this to warn him.
Then in the final part of the book, when Montag is the subject of a televised nation-wide man hunt, another hound is sent after him. This one has been programmed to track Montag's scent and to kill him. He is only able to escape it when he plunges into the river. Finally, when he meets up with the "book men" in the country, one of them gives him something to drink that will change his scent and through the hound of his trail.
O'Conner works hard in this story to make the symbolic meaning a timeless meaning. She did not indicate a specific time period or make reference to world events. Although the setting is clearly the South, that choice is in keeping with her other works and so does not suggest a specific reference to Southern culture.
So, what is the meaning then? As the title suggests, it is symbolic of personal salvation in a world controlled by money. O'Conner shows people in the story who have a strong interest in personal, materialistic gain. Lucynell is the only one who doesn't, but she is a mute - suggesting that the pure of heart no longer have a say in this capitalistic and greedy world. The protagonist, Shiftlet, is taken over by his greed, and becomes controlled by his desire for monetary gain, although he said in the beginning that he thinks the world is too controlled by money. The story of Shiftlet is one of failure, and he is a lesson to readers. O'Conner is symbolizing the loss of morality in society, and teaching readers to step back from a life of material wealth.
The swimmer, Neddy Merril, is a rather pathetic figure. Initially, he seems young and heroic. However, as he continues on his journey home, we see him change quite a bit, especially after the storm hits. After that point, he begins to seem old and pathetic. It is after the storm too that the reader begins to learn more about Neddy and his current situation. We learn that he has lost his money and that something has happened to his daughters. At the end of the story, he appears old and completely bewildered.
His act of swimming from pool to pool all the way to his house mirrors his character's downward spiral. Initially, it seems like a brave, macho thing to do. He swims the first few pools effortlessly and is greated nicely by the owners. However, once the storm hits, Neddy begins to weaken. We see that his quest is really more of a drunken, pathetic joke. Early in the story, it states how he never uses the pool ladders. However, when he arrives at his former mistress's pool, he cannot lift himself out and must use the ladder.
By the time he completes his swim, he is cold and exhausted and, quite literally, locked out of his own life.
Planets are large natural objects that orbit the sun. Names of the 9 planets along with their mean distance from sun and diameters are listed below.
Name Distance from Sun Diameter
('000 km) (km)
Mercury 57,900 4,878
Venus 108,200 12,104
Earth 149,600 12,756
Mars 227,900 6,796
Jupiter 778,440 142,984
Saturn 1,429,400 120,536
Uranus 2,875,000 51,118
Neptune 4,504,300 49,500
Pluto 5,900,100 2,300
Please note that as per a revised definition of planets adopted by International Astronomical Union in 2006, Pluto is no longer qualifies as planet.
This story is also read as a "coming of age" tale, with Connie crossing the line from innocence to experience through the temptations of Arnold Friend (the name suggesting at once "fiend" and "friend," which is paradoxical yet also suggestive of the nature of her cross over into experience). Throughout the story Connie is seduced by the rock and roll music culture, and her parents do not sufficiently supervise her. Friend, some critics think, symbolizes Connie's unconscious desires created by music, that she in fact creates him as opposed to him being an actual reality. Oates dedicated the story to Bob Dylan. She based the story on a song of his (It's all over now baby blue--I think that's the title...) and an actual incident she read in the newspaper about a young man seducing and then kidnapping young women.
Tom is the killjoy in this passage from The Great Gatsby, which is appropriate since he will play the same role when he smacks Myrtle and when he puts a stop to the flirtation, as he thinks of it, of Daisy and Gatsby. He causes the shift in this passage.
The writer, or more accurately, the speaker, relates the shift, however. Overall, he accomplishes the shift by reversing the imagery. The other rhetorical elements you mention contribute to the overall effect of the imagery.
The white dresses are "fluttering" and "rippling" as if just returning from a "flight," and the women are "buoyed up" as if they are floating in midair by an "anchored balloon." The diction contributes to the visual imagery. But the "whip" and "snap" and "groan" (diction contributing to sound imagery) become a "boom" and the shift occurs. Instead of the light, airy imagery, and in addition to "boom," we get "shut," "caught," "died," and "slowly to the floor." This juxtaposition--placing opposites side by side--of imagery, contributed to by the diction, enhances the effect of the shift. The speaker reverses the imagery, and thereby reverses the tone.
Of course, the light, poignant picture of the women floating is an illusion. And like other illusion in The Great Gatsby, it is brought to an abrupt end.
To me, the external conflict is between Tom and the building. It is between Tom and death. He is out there on the ledge, fighting against death.
This causes an internal conflict. It causes him to start thinking about what is really important in his life. He comes to question whether he is spending too much time and emotional energy on his work. He has to decide whether his work is more important than his personal life.
I think the new obstacle you are talking about is when the paper flies out the window. Now he has to do it all over again.
In Chapter 4 of William Golding's allegory, Lord of the Flies, the boys have spent some time on the island, now. And, in contrast to the Victorian novel, The Coral Island in which the stranded boys conquer the savages upon the island, thus representing the victory of civilization over savagery; the boys stranded in Golding's novel succumb to savagery, and degenerate to a more atavistic form of humanity. This descent into savagery is represented by the shedding of clothing, the lengthy hair, and the painted faces, behind which they can attain anonymity and more easily perform their brutal acts.
Still, the boys retain some vestiges of civilization. For instance, Roger, described as a short, furtive boy, emerges from the trees above and watches Henry on the seashore; then, Roger stoops, picks up a stone, "that token of preposterous time," and bounces it to a space around Henry. At this point, he is still conditioned by society to not harm the boy, but he is beginning to lose this conditioning as the days pass. As he sees Jack, "a darker shadow crept beneath the swarthiness of his skin" while Jack smears on the clay and charcoal to mask his face from the pigs. Jack, "liberated from shame and self-consciousness" now tells the boys how to hunt the pigs. Golding writes that "the mask compelled them." That is, the savage nature exemplified by Jack overpowers the boys and they begin their degeneration into savagery as they shed the vestiges of civilization.
“A Family Supper” by Kazuo Ishiguro describes a Japanese family coming together after the death of the mother. She died from eating a poisonous fish. The father has waited on the return of his children to their Tokyo home: his son from American and his daughter from college in Osaka. The narration of the story is first person with the son as the narrator.
While they wait for the arrival of the daughter, the son and the father talk about the mother’s death, the collapse of the father’s firm, and the son’s plans for the future. The father would like for his children to return home to be with him.
Character analysis
The Father
The father ia not given a name because he is an archetypal Japanese father figure. Ishiguro uses this father figure to embrace the timeless issues of children growing up, moving away, and leaving their parents to grow old. These are the things that the father wants to discuss with his children. He hopes that there will be an understanding of what should be expected of them.
The father feels the pain of abandonment in his old age He tries to hint at his joyless life since the death of his wife. His firm has collapsed. He is lost in the big, empty house that once held his family.
The Daughter
The daughter Kikuko is younger than the son. She is nervous when she arrives home. Her father questions her about her studies at the university. Her answers are brief which frustrates the father.
While the father fixes the meal, the siblings walk in the garden. The girls tells her brother that she has a boyfriend. The boy wants her to go with him to America.
The daughter is talkative and loves to share with her brother. The daughter also tells the brother that her father’s partner in the firm had committed suicide and killed all of the rest of the family as well.
It is obvious that the father depends on the daughter to help him more than the son. The daughter hesitates when the father asks her to do something indicating a resentment which may come from her immaturity or some other bad feeling between the two.
The Son and Narrator
The son has lived in California with a girl for a while. The affair has ended, and the son seems at odds as to what he wants to do. The son is also not given a name. The father wants his son to stay with him. The son is unable to commit to this circumstance yet, and the father is afraid to push the son. The request hangs over them.
The son has accepted the death of his mother as an accident; however, the father essentially tells him that his mother has committed suicide. During the story, the son is haunted by a vision and a picture of his mother. He regrets not having returned to see his parents sooner and feels some guilt toward the mother’s death.
‘Surely,’ I said eventually, ‘my mother didn’t expect ne to live here forever.’
‘Obviously you don’t see. You don’t see how it is for some parents. Not only must they lose their children, they must lose them to things they don’t understand.’
From this insight, the father once more refers to the three ways that many old people die: accident, suicide, or neglect. Questions about the family going or staying are unresolved.
At the end of the story, the discussion makes the reader feel that it is possible that the father is capable of poisoning his family as they eat fish prepared by the father.
In The Time of the Butterflies, the Dominican people experience Trujillo's abuse of power when they are forced to suffer through his unchallenged decisions. Early in the novel, Minerva learns about the plight of a friend whose family members are killed for opposing the views of Trujillo. Trujillo continually makes decisions such as these and anyone who speaks out against him is either imprisoned, tortured, or murdered. The people are thus silenced and must adhere to his rule. Minerva, Maria Theresa, and Patria Mirabal are all killed by Trujillo's henchmen because they have led an active resistance against him. So, the people of the Dominican Republic experience Trujillo's abuse of power through having their voices as citizens silenced and being forced to live in continual fear.
The story has everything to do with Judaism, Christianity, and the Roman Empire. The Jews hated and suffered under Roman Rule as is evidenced by the deaths of Daniel's uncle and father by crucifixion. The Jews were waiting for a biblically promised Messiah to free them from Roman rule. Most looked for a kinglike messiah who would lead an army to defeat the Romans. This is what Daniel saw in Rosh. They were bound together by their hatred of the Romans and worked as an army to defeat them. However, Rosh was not moral in the Jewish sense of the word. He did not follow the Jewish laws. He steals, lies and cheats.
Jesus represents the other side of the Messiah as presented in the Old Testament. He preaches that love is the way to gain the Kingdom of God, not war. He reaches out in love to those who are not Jews breaking the prejudices of Jews against gentiles. Unlike, Rosh, Jesus acts selflessly and keeps the spirit of the law as presented in the scripture. He heals the sick, gives to the poor, is kind to the needy, and acts as a servant in all situations. He shows that hate can never gain anything. At the end of the novel, Daniel sees that Jesus, not Rosh has the answer. The split between Rosh and Jesus represents the later split between the Christains and the Jews. The novel shows how they come from the same place but part along the way.
Jem does not change gender. Try reading the passage. You might be confused in who is narrating. Scout, a young girl, is the narrator, not Jem, though he is an integral character. I have read the novel dozens of time and am not aware of any sort of error regarding this.
Gender roles, though, is a theme in "To Kill a Mockingbird." Scout is a classic tomboy - beating up her classmates, attempting to seal a bargain with Atticus by spitting in her palm, swearing, and so on. One key thing to watch as you read is how Scout attempts to fit into the feminine world around here. This begins when her Aunt, Alexandra, moves in with the Finches. In Ch. 24 there is the great scene where Scout is helping out at an afternoon lunch with Alexandra and her friends. Scout is dressed in a skirt. One of Alexandra's friends asks her where her pants are. Scout promptly pulls up her skirt and shows that she has pants on underneath! This scene illustrates the conflict between her tomboy ways and the pressure to conform to the female world of behaving properly, gossiping, having dinners, and obeying traditions.
Jem faces the pressures of growing up and becoming a man. The catalyst, I believe, for Jem's change is the Tom Robinson verdict. Before the verdict, Jem is naive and idealistic. After that, though, his innocence dies and he begins to see the injustices inherent in the world around him, which, of course, if part of growing up and leaving the innocence of childhood behind.
Result of determination of blood group of a person should be read by two people and possibly be confirmed on a second sample of blood, in order to avoid reading errors which are due to errors in technique.
The reading errors occured in determination of blood group are:
- Dirty glass;
- Bacterial contamination;
- Presence of micro-clots (false agglutination);
- there are not fulfilled: the proportion of red blood and serum; contradictory agglutination;
Errors occured during reading:
- reading late - dry edges (false agglutination);
- reading early - no agglutination or poor agglutination.
Here is the poem with the stresses in bold.
Move him into the sun -
Gently its touch awoke him once,
At home, whispering of fields unsown.
Always it woke him, even in France,
Until this morning and this snow.
If anything* might rouse him now
The kind old sun will know.
Think how it wakes the seeds -
Woke, once, the clays of a cold star.
Are limbs so dear-achieved, are sides
Full-nerved, - still warm, - too hard to stir?
Was it for this the clay grew tall?
- O what made fatuous sunbeams toil
To break earth's sleep at all?
* Owen's speaker would have to slur "anything" to make it one stressed syllable.
The poem is a mix of meter: it starts out in trochee and moves to iambic to hit the rhymes at the end.
The beginning of lines 1, 2, and 4 are trochee (stressed, unstressed) in both stanzas
Lines 5, 6, and 7 in the first stanza are iambic (unstressed, stressed)
Line 3 ("At home, whispering") in the first stanza and line 6 ("what made fatuous") in the second stanza are dactyl (unstressed, stressed, stressed).
Reasons for the existence of a theocracy
Arthur Miller clearly states in his notes that Salem was seen as one of the last vestiges in what was deemed a fight against Satan and his disciples.
The edge of the wilderness was close by. The American con-tinent stretched endlessly west, and it was full of mystery for them. It stood, dark and threatening, over their shoulders night and day, for out of it Indian tribes marauded from time to time ...
... the Salem folk believed that the virgin forest was the Devil’s last preserve, his home base and the citadel of his final stand. To the best of their knowledge the American forest was the last place on earth that was not paying homage to God.
For these reasons, among others, they carried about an air of innate resistance, even of persecution.
Because they had taken so much risk in leaving their homeland, it was essential that they receive all the help they could get in establishing and further stretching the new frontier with which they were now faced.
The citizens were deeply paranoid about threats against their person, their beliefs and their souls. The devil was a continuous threat. To defend themselves against this most pernicious menace, they turned to the church for protection. Every aspect of their lives had to be ruled by the Holy Book, for even the slightest deviation from its admonitions and its preaching, would put one at risk. The result of this was that the church and the law became practically inseparable.
Because the citizens of Salem felt so insecure, they willingly submitted to the church's authority for it provided them not only with the protection that they so desperately needed, but also provided them with spiritual guidance. This guidance strengthened them against possible attacks by Satan and his minions. It gave them power not only to fight his evil, but also enabled them to resist whatever temptation he may bring their way.
The church provided them a safe haven and unified them in the fight against whatever threats may present themselves. Their paranoia was also boosted by superstition and naivete. It is for these reasons that they so strictly adhered to the church's teachings and willingly and unquestioningly submitted to its rule.
The result of this servile obeisance was that they essentially became pawns in the hands of figures of power, who abused their authority as leaders in especially the church, to practise their vengeance and force their arrogance on naïve, god-fearing and honest people.
Individualism
There were some citizens, however, who resented the power some individuals in the church exercised and abused, and they turned away from the institution, preferring to practice religion in ways they deemed more appropriate. Such a person was, for example, John Proctor. He had repeatedly criticised the Reverend Parris for using his parishioners to profit in a material sense.
To Proctor, the reverend was not a true 'man of God', but rather one who abused his position for his own benefit. Parris had, for instance, asked for the deeds to the rectory - a request that galled not only John, but many others as well. John's criticism turned Parris against him. The reverend then makes it his duty to meddles in the court's affairs during the witch-trials, intent on getting back at John - a sure abuse of power.
Remember that at the beginning of the story Rainsford, the protagonist, felt that the hunted ("huntees") felt neither pain nor fear about being hunted. At the end of the story Rainsford has now had the unique experience of being hunted by General Zaroff and he felt both pain and fear during his experience. Rainsford ultimately wins the most dangerous game, but his attitude toward what he does for a profession will surely change as a result of this experience. I do not think that Rainsford, being the world famous hunter that he is, will quit what he is good at. I think his experience as the huntee will only hone his expertise and he will have empathy for the game that he hunts from now on.
Just to demonstrate that literature can present itself for multiple interpretations, let me attack the ending with a slightly different perspective. Rainsford does understand what it means to be hunted, but the idea of empathy might now be lost. In the beginning, Rainsford exhibits disgust and horror when he realizes that Zaroff is hunting humans. He refers to it as murder, and his attitude is clear that he finds this to be the worst sin. However, at the end, Rainsford hides in Zaroff's room, much as a lion will hide in the tall grass, watching for his prey. Rainsford kills Zaroff, which is murder, but he "never had a better meal" after the fact. This suggest that Rainsford attitude is mroe accepting towards this"new hunt"
The word "Marry" is an exclamation used in Shakespeare's time. Its best definition is "indeed!". For example, when Gregory says to Sampson:
No, marry; I fear thee.
The translation can be:
No, indeed; I fear thee.
I have included a good link to Shakespearean terms to help you in your reading.
The biggest comparison between the two would be the theme of knowledge vs. ignorance. In Brave New World, the citizens are denied knowledge so that they will not be tempted to rebel. The belief is that in ignorance, they are unaware of what they are missing. This applies to Macbeth because he had too much knowledge. The witches gave him so much information, he began to act in ways unusual for him and unproductive in order to speed up the events that were supposed to happen to him. In he had lived in a Brave New World, he would not have had the knowledge and so would not have become a murderer.
In the book Al Capone Does My Shirts a twelve year old boy named Moose and his sister move to Alcatraz Island. Other children also live on the island because their parents, like Moose's father, work on the island. Moose's father is an electrician. Moose does not want to live on the island but they have to so that his sister can attend a special school.
The island harbors serious criminals who have committed the worst kinds of crimes. No other prisons want them. One of the things that Moose does not understand is why his dad has to work as a guard if he is an electrician at the place. He describes the guard towers and the dullness of their apartment.
Chapter 2
Moose is excited because he wants to spend time with his dad but he learns that his dad has to work two jobs at the prison. He also finds out that he can not go to the job with him because kids are not allowed in the prison.
In order to go grocery shopping Moose's mother has to take a boat off the island. She leaves him to baby-sit his sister while she goes to get a block of ice. They don't have an electric fridge and have an ice box.
Moose thinks back on Natalie's behavior the day before on the train. She had thrown a fit and was kicking and screaming. His mother had to hold her to get her to calm down. She had to sit in the middle of the isle which was embarrassing. He goes on to explain that Natalie's tantrums can last for days and at times won't stop. She is unpredictable.
When he is watching his sister a girl with black hair goes to visit. He doesn't want to open the door but Natalie does. The girl is seven and a half. She tells Moose that she already knows about Natalie. Moose tells her that Natalie is ten and she is always ten at every birthday. Teresa, the girl, tells Natalie to get her coat and then tells Moose to follow her while she shows him around.
The only way to answer this question would be for you to watch the film after reading the book. Although I did see the 1939 film back when I was in college, it has been quite awhile since then for me! :) However, what I do recall is that it is quite a good adaptation from the book, although there are some changes. Good luck!
Dickinson continues her obsession with death in this poem, though she is not the narrator. In line 12 she says, "I used to when a boy." Here, she a boy who is merely an observer of a death that has happened in the house across the street.
The first line of the poem is significant as it doesn't following Dickinson's normal iambic tetrameter (a pattern of four unstessed-stressed syllables.) She wants to draw attention to that line by making it irregular in its meter because this is the topic of the poem--the death in the other house. The rest of the stanza (lines 2-4) scan regularly, which supports what Dickinson writes in those lines. She personifies the house as looking numb, as though the house could tell something awful happened inside of it. These stanzas are perhaps in regular meter to underscore the numbness people feel when a loved one has died.
The next time Dickinson deviates is line 8: "Abrupt, mechanically." This supports the above mentioned idea that the house is being personified--it's not doing anything with feeling; it's moving mechanically. She also deviates from her rhyme scheme--away and mechanically are, at best, an off rhyme. She tries to draw attention to the house and how it seems to show the pain of what happened inside of it.
In stanza 3, the narrator refers to the dead person as "It"--as though when someone dies, she is just an empty shell, an It. The deceased is also the subject of children's rumors, as the narrator indicates in line 12.
In stanza four, the minister is spoken of as being stiff--an uncomfortable feeling, but he is given power over the house and everyone in it. Depending on the way you scan the poem, the last two lines about the minister owning the mourners and the boys could be of an irregular meter, and the last line of that stanza (line 16) is another off rhyme. The minister, traditionally, brings comfort at a time of loss, but this minister is stiff and acting like he owns the place.
Dickinson continues to have her narrator list the different events that happen after a person's death--the milliner, a person who would make the clothes for the deceased and the "man of the appalling trade"--perhaps the undertaker or funeral director. The narrator comments on the "dark parade," or the funeral march. What's curious about line 19 in stanza 5 is that the milliner and the man of the appalling trade are measuring the house, not the person who died in the house. At this point in the poem, the deceased and the personified house become one.
The last stanza returns to Dickinson's normal meter--iambic tetrameter and iambic trimeter. The narrator indicates that all of this happening is as "easy as a sign"--the family may as well have posted as sign that someone had died, because news will travel fast or be inferred by people in a small country town. Again, Dickinson neglects her rhyme scheme in this stanza, alerting us that something is "off."
Dickinson creates detached and aloof narrator; this is significant because the poem is about death, which is usually an emotional subject. Since Dickinson took on the voice of a different narrator, and the house is personified and becomes the person who died, perhaps Dickinson is commenting on her own death; that just like a house's facade can show that death has occurred--it becomes numb and mechanical--so her outward appearance can be when she is dead. The minister will have control over her, and people will talk of her death.
There are three reasons why the Colosseum is damaged.
First, it was built very long ago under the leadership of the Flavians. It was started around 70-72 and was completed nearly 10 years later. So, from a historical point of view, there is natural wear and tear. The natural elements for the last two thousand years damaged it. We cannot underestimate this point.
Second, there were also other natural disasters such as lightning strikes and earthquakes.
Finally, because the Roman Empire fell and people were building new projects, often times people used ancient sites as quarries. This is what happened to the Colosseum. Many famous buildings were built from the Colosseum. For example, the cathedrals of St. Peter and St. John Lateran were partially built from the Colosseum. Also defense fortification around the Tiber were also built from the remains of the Colosseum.
The festivities of the carnival setting further add to the atmosphere of horror as we see that Montresor plans to slyly torment Fortunato on their entire journey to the impressive Amontillado as when he mentions Fortunato's rival, Luchresi, or as later in the catacombs when he gives a farcical "secret" sign of the Masonic Lodge in the form of his trowel: "'You jest,' [Fortunato] exclaimed, recoiling a few paces." It is Fortunato's greed to taste the Amontillado that compels him headlong into Montresor's trap, causing him to leave the company of the festive carnival to enter death's catacomb's, even though he seems to have a social engagement although he denies it: "'I perceive you have an engagement.' ... 'I have no engagement,....'"
Montresor lures Fortunato to the next setting by tempting him with this "Amontillado." The catacomb setting (catacomb: underground tomb for the placement of dead people, often on exposed shelves) adds to the atmosphere of horror because in the catacombs Poe adds layer upon layer of troubling details that threaten Fortunato in such a way that Montresor continually says with feigned concern (without any sincerity at all) that they should turn back either because Montresor might just as easily consult the incompetent rival Luchresi or because of Fortunato's cough: "The drops of [nitre] moisture trickle among the bones. Come, we will go back ere it is too late." The mounting detail of the catacombs combined with the mounting feeling of dread and suspense the setting engenders enhance the heightening atmosphere of horror.
When they get to the fourth and final setting, to the destination selected by Montresor, to the place where he will use his trowel--which he earlier brandished in a compulsive mock jest before Fortunato--to wall in his drunken, gullible enemy, the horror is magnified by the surprises and twists abruptly introduced here. The menaces of this setting enhance the atmosphere of horror because we are as confused by it as Fortunato himself is as he walks into a niche--which symbolically marks the end of his good fortune--where he "stood stupidly bewildered." Neither we nor he can fathom the meaning of the niche, nor of the "rock" that blocks his path, nor of the "fetters" that astound us as they astound him, nor of the purpose of Montresor digging purposefully about in "a pile of bones." The surprises and twists of this fourth setting serve to enormously enhance the atmosphere of horror as bewilderment, confusion and astonishment--"He was too much astounded to resist ... [and] not yet recovered from his astonishment"--immobilize Fortunato while bewildering and shocking us.
To summarize, this analysis reveals that Poe prominently uses three techniques related to setting to enhance the atmosphere of horror in the story: (1) the contrapuntal natures of the two early settings, i.e., the carnival of joy as a contrasting counterpoint to the catacombs of death; (2) the mounting details revealing the mounting dangers of the catacomb crypts, including farcical or ironic details, e.g., the farcical jolly bells of Fortunato's costume, the ironic nitre dripping, which is potassium nitrate and potentially dangerous to lungs; (3) the surprises that twist the pattern of what has already occurred, e.g., that the succession of deep crypts should end in a darkened "niche" where "his progress [was] arrested by the rock."
The littleuns are afraid of the beast, and Jack and Ralph are arguing about how to handle their fears Simon is tempted several times to speak up, but he is hesitant to do so because he has an inability to express his ideas to the others in a coherent manner, and he is well aware of this shortcoming.
Simon is truly terrified by what he has identified as the true "beast". The fictitious beast the littleuns are worried about is not the most worrisome issue on the island. Simon knows that they themselves ar to be feared above all else.
The dark side of human nature is to be feared because Simon realizes fear, the lack of structure and rule, as well as spiritual guidance will lead to destructive and malicious behavior. Simon is incapable of communicating this to the other boys.
"Never shall I forget those moments which murdered my God and my Soul and turned my dreams to dust." This is how Elie Wiesel describes his feelings as a result of living in the camps. Elie suffers a crisis of his faith due to the deplorable living conditions of the camp and watching his father and others around him slowly die an agonizing death. This is when he goes through a major change of trying to reconcile what's happening to him and all the other Jews with the beliefs he's been taught about God. He doesn't reject God, but he does decide that he "no longer accepted God's silence". Elie changes his views that God is a just and merciful God, but he also comes to a decision that he will not allow the camps to kill him. Survival becomes his only goal, and realizes that "something within me revolted against death." His religious teaching hasn't prepared him for understanding anything like the death camps, and he depends upon himself, the man, to survive.
Genetic mutation refers to change in the nature of genes present in cells of all living organisms, and which constitute the basic unit of heredity of these organisms. Such mutations can take place due to external causes such as radiations, viruses and mutagenic chemicals. Some genetic mutations may also result from errors that occur during DNA replication.
Organisms have a built in mechanism to eliminate cells with genetic mutation from the body. However there is a limitation to this capabilities. As a result mutation may result in abnormal growth of ells with mutation causing cancer.
Also mutation on cells involved in reproduction may result in genetic defects in offspring and the defects being passed on to heredity.
Viral mutations refer do genetic mutations that occur in viruses causing new strains of viruses being developed as a result of the mutations being passed on to heredity. Frequently, such new strains disease causing viruses pose great health hazard as human have no immunity to such new strains of viruses. Also the existing antibiotic drugs may bot be very effective in treating diseases caused by them.
When interpreting a work of art, a person's judgments about the work of art should be based on evidence from the work of art itself. That still often leaves room for interpretation, but it should stop a person from believing just whatever one wants to believe about a work of art.
The speaker says in this poem that the roads were basically the same. There is no question that he did or didn't take the road less traveled--he did not. The speaker says he did not. They were the same.
The sigh can maybe be interpreted in different ways, except that the sigh and the last stanza cannot be interpreted as if the speaker is happy because he took the unpopular, less traveled path. That idea is simply not present in the poem.
I suggest the sigh is similar to a chuckle. The speaker is preparing to tell a white lie or a big fish type of story. He is going to play the wise old man and tell a story about how he chose the unpopular path, and say that that has made all the difference. This is a tale, though. In actuality, he does not do that. He may even wish that had been the case, but it wasn't.
Since the bubonic plague took place in the thirteenth century and Black Death took place in the seventeeth century, the reader may assume that the setting of Poe's "The Masque of the Red Death" somewhere in between as the masquerade ball was popular during the fifteenth century Renaissance, especially in Venice, Italy. With the name of the prince as Prospero, the reader may assume that, indeed, Venice is part of the setting of Poe's story.
Since Italy was particularly hit badly by the Black Death, people began to dwell more on their lives on earth, while at the same time, so much death gave rise to increased piety. In Italy this piety was manifested by sponsorship of religious art. So, with these facts in mind, a letter of consolation can take the perspective one of two ways: the wonderful life that the individual did have while on the earth, or the spiritual aspect of the wealthy person's having sponsored a painter of religious art, etc.
It does seem, however, more consistent with the tone of the story that the individual who has died has probably been one who enjoyed his/her life while on earth; thus, celebrating this life with its accomplishments, beauty, family, etc. may be be best the content of the letter.
In the book Bud, Not Buddy Lefty Lewis is a grandfather and a vampire who drives around with blood in his car which he drinks when he is thirsty. He ahs grandchildren and he takes Bud to visit his daughter's house and the kids.
Lefty runs around the town of Flint running errands and Bud goes with him. Just as they pass a sign welcoming them to Flint they hear a siren. A Flint police car is behind them trying to get them to pull over. Bud thinks they have been looking for him.
Lefty pulls over on the roadside and tells Bud to follow his lead. Bud wonders if Lefty isn't running from something as well. Lefty tells him to listen carefully. He tells Bud to take a box and put it under Bud's seat. It is the size of a thick book.
The cop takes a look in the trunk. Bud hears a bang and jumps realizing it was the trunk being closed. The cop tells Lefty him and Bud, his grandson, look alike. He lets them go.
Lefty begins to explain to Bud what a labor organizer is and that a union is like a family, but people don't want them. He tells Bud to look in the box. When Bud opens the box all that is in it is a bunch of paper with writing on it.
It is information about a private union meeting. Mr. Lewis is participating in trying to get a union for Pullman porters. If the policeman had caught them and seen the papers, he would have shut the meeting down.
Instinct is an inherent behavior; a fixed action pattern that is unlearned. Animals are born with certain instincts which are common to all those in their breed. Some instinctual behaviors require a certain amount of maturation before they begin. The most obvious one is the instinct to mate and propagate. This "animal instinct" is, of course, inherent in human beings. Psychoanalysts sometimes refer to this behavior and aggressions as motivational forces, rather than natural, or animal instincts.
Other behaviors in humans that have been considered instinctual are the reflexes, sleeping, disgust, face perception, language acquistions, fight or flight. Some scientists think that it is instinctual for children to put everything in their mouth because this is how they tell their immune system about their environment. However, other sociologists argue that humans have no true instincts, contending that there are simply "complex patterns of behavior."
"Araby" takes place in Dublin, Ireland, around 1905, when the story was written. It is the third story in James Joyce's collection of short stories entitled The Dubliners. This collection of stories is Joyce's portrayal of the problems that face the Irish people around the turn of the century. "Araby" is one of the most well known stories from this collection.
The story begins with a description of North Richmond Street, which is portrayed as quiet and "blind." "Blind" is particularly well chosen because it means both a dead end as well as without vision. The narrator's house on North Richmond Street is "musty" and "enclosed." But the narrator, in his youth, is oblivious to the staleness that pervades his surroundings. His attention is focused on Mangan's sister whose image allows him to escape the dreariness of his surroundings.
Within this general setting of Dublin, Joyce depicts such specific settings as the narrator's house, the neighborhood streets and yards, Mangan sister's house, the market place, the train station, and finally Araby, the bazaar--the narrator's destination, the destination that allows the narrator to see himself for what he is: "A creature driven and derided by vanity."
Edgar Allen Poe supports horror by the repetition of words. The narrator repeats certain words several time as if to pull the reader into his internal anxiety.
"TRUE! nervous, very, very dreadfully nervous."
The type of narrative Poe used indicates to the reader the level of insanity of the speaker. Scary stories often involve a person with a deranged mind. Poe's narrator tries to convince us that he is not crazy while verbally indicating that he is crazy.
The murder scene in the story is indicative of horror. The narrator also builds fear and tension in the story by telling how the man must have felt when the narrator sneaks into his room.
The descriptive passages about the man's eye create a visual scary effect.
"One of his eyes resembled that of a vulture -- a pale blue eye with a film over it."
During the the Netherfield ball in Ch.18 Jane herself tells Elizabeth that Bingley is certainly attracted to her:
Elizabeth listened with delight to the happy, though modest hopes which Jane entertained of Bingley's regard, and said all in her power to heighten her confidence in it.
So, after the ball everyone expected Bingley to propose to Jane. However, the Bennet family is in for a very rude shock when in Ch.21 a letter from Caroline Bingley to Jane announces the fact that the Bingleys and Darcy have left Netherfield and have gone to London with no intention of "coming back again," and that they will celebrate Christmas at London.
To make matters worse, Caroline hints that Bingley is attracted to Darcy's sister Georgiana and that all of them hope that Bingley will marry her soon:
I really do not think Georgiana Darcy has her equal for beauty, elegance, and accomplishments; and the affection she inspires in Louisa and myself is heightened into something still more interesting, from the hope we dare to entertain of her being hereafter our sister. I do not know whether I ever before mentioned to you my feelings on this subject, but I will not leave the country without confiding them, and I trust you will not esteem them unreasonable. My brother admires her greatly already, he will have frequent opportunity now of seeing her on the most intimate footing, her relations all wish the connection as much as his own, and a sister's partiality is not misleading me, I think, when I call Charles most capable of engaging any woman's heart. With all these circumstances to favour an attachment and nothing to prevent it, am I wrong, my dearest Jane, in indulging the hope of an event which will secure the happiness of so many?''
This incident of Bingley quitting Netherfield in haste without informing the Bennets marks an important stage in the development of the plot.
When you talk about Shakespeare's Macbeth being a tragedy of character instead of a tragedy of deeds, you are talking about character motivation: why the characters do what they do, or what makes the characters do what they do. And any decent narrative reveals motivation for its characters (with a few exceptions, of course, when that is the point).
Ambition is the motivator for the murders, of course, and ambition is a fault in the characters of Macbeth and Lady Macbeth. There is not much disagreement about that, and it's pretty obvious. The previous commentators are correct in their assessments.
At the same time, emotions, desires, etc. don't kill people. Lady Macbeth doesn't really do anything in the play except talk. (Neither do the witches, by the way, but that's for another study.) If Lady Macbeth were next in line for the thrown and a widow, and didn't have anybody to talk into doing her dirty work for her, Duncan would still be alive. And she would not be guilty of anything except nasty thoughts. Macbeth does the deed. And that action makes him guilty of more than thinking.
Thoughts don't land people in prison and kill people. Actions land people in prison and kill people. So in that sense one could not say that the play is a tragedy of character, rather than a tragedy of deeds.
This is from my "For Whatever it's Worth" file.
In Part II, it is hunger that brings Pi out of his hoplessness. He is physically driven to find food and water, and the movement brings him around spiritiually and emotionally as well. He is finally able to realistically assess his situation on the raft and begin to deal with his bizarre situation.
Montague is saying that Romeo is being totally emotional.
Montague reports that Romeo has been seen pouting in the mornings and then he goes into the house as soon as the sun is shining and makes his room like night... dark. He closes the windows, door and drapes and won't let anyone in. He wonders what the deal is with his son.
Benvolio too wonders and asks if they've asked Romeo about it.
Motague reports that they have, but it does nothing. Many folks have, they also find that Romeo is acting like he's almost dead, he's so depressed.
Benvolio commits to find out what's up.
When Squealer emerges walking upright on his hind legs followed closely by Napoleon, the pigs must have known that the other animals would be not only surprised but disgruntled. One of the most important of the original Commandments had been "FOUR LEGS GOOD, TWO LEGS BAD," and the pigs were obviously flaunting their newly-achieved human behavior. So, the pigs taught the sheep a new song that simply went "Four legs good, two legs better!" Napoleon and Squealer knew that the animals would better go along with this new idea once they heard the song, but to solidify their new uprightness, the Commandments had been reduced to one: ALL ANIMALS ARE EQUAL, BUT SOME ANIMALS ARE MORE EQUAL THAN OTHERS.
Freedom, activism, and intellectualism are all themes that are explored in this play, but one large conflict revolves around freedom.
Thoreau is in jail for refusing to pay his taxes, and even though he claims his thoughts are free, he is physically inside a jail cell. This character didn't pay his local poll tax because he knew that the money would support two things he didn't believe in:
1.) slavery (which took away freedom)
2.) the Mexican-American war (some believed that the war was created only so that American could create more slave-holding southern states)
So in this case, the conflict was between Thoreau and his local town. Anyone who tried to, or offered to, pay Thoreau's tax for him, only angered Thoreau.
In addition, Thoreau's friend Williams (a run-away slave) is trying to escape to Canada in the pursuit of freedom. Thoreau helps Williams along the way, but unfortunately the ex-slave is stopped in Boston.
When Thoreau and Emerson (Waldo) discuss Williams, the two get into a heated argument about the difference between believing in freedom for all and between actually doing something about it. This conflict causes a major rift in their relationship.
Other plot points you might be able to connect with conflict:
Mr. Johanson called his brother-in-law Henrik and asked if it was a good day for fishing. This was a code for needing to have Jews smuggled out. He also mentioned to Henrik that they would be sending a carton of cigarettes which referred to Ellen Rosen, a friend of Annemarie's. A group of resistance fighters would lead a small group to a seaside harbor to be sent to Sweden (which was not conquered by the Germans) aboard small fishing boats that had built into them a false deck above the bottom of the ship. Between the hull and the false deck, several people could be hidden. In case of sniffer dogs being used to detect the Jews, a chemist developed a compound of dried rabbit blood and cocaine to stymie the dogs sense of smell. This compound was placed on a handkerchief that the ship's captain would use near the dogs.
1.
The two simultaneous equations are
2y - x = -4 ... (1)
x + 3y = -5 ... (2)
Adding equation (1) to equation (2) we get
x - x + 3y + 2y = - 5 - 4
Simplifying this we get:
5y = -9
Therefor y = -9/5 = -2.25
Substituting this value of y in equation (1) we get:
2*(-2.25) - x = -4
Simplifying this equation we get:
x = 0.5
Answer: x = 0.5 and y = -2.25
2.
The two simultaneous equations are:
5y - 2x = 4 ... (1)
6x + y = 4 ... (2)
Multiplying equation (1) by 3 we get:
-6x + 15y = 12 ... (3)
Adding equation (2) and (30 we get:
6x - 6x + y + 15y = 4 + 12
Simplifying this equation we get:
16y = 16
Therefore:
y = 1
Substituting this value of y in equation (1) we get:
5*1 - 2x = 4
Simplifying this equation we get:
-2x = -1
Therefor x = 1/2 = 0.5
Answer: x = 0.5 and y = 1
I would say that there are two major reasons for this. I would say that part of the attraction is simply love. Daisy is clearly an attractive woman, whether in Long Island or when she was younger in Louisville.
But perhaps the more important reason (so I'll say this is my choice for the principal reason) is that Daisy represents what Gatsby aspires to. She is a rich, high class person. Gatsby wants to be in that category. So, when her pursues her, he is showing that he wants to be a rich, high-class person. If she will accept him, then that shows that he has made it.
Of course, we are not actually told why. But we can guess from the context.
In this part of the story, Emily has been going around town with Homer Barron. The people of the town think what they are doing is improper and they send the minister to talk to her.
Given that context, it seems clear that she has in some way told him to mind his own business. I don't know if she told him something scandalous about her relationship with Homer or if she was just really rude to him. I think it is one of those two things.
Macbeth is despondent when he learns of her death, and his sorrow contains some of the most quoted lines in all of Western literature:
She should have died hereafter;
There would have been a time for such a word.
Tomorrow, and tomorrow, and tomorrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury
Signifying nothing." (5.5.17-27)
After news of the queen's death, Macbeth himself resolves to die, rushing into battle, crying out, "Blow, wind! come, wrack!
/ At least we'll die with harness on our back! (5.5.50-51).
In Act 5.8, Malcolm reports that Lady Macbeth died "by self and violent hands," and that all attempts to prevent the witches' propheices from coming to pass have failed. The tragedy of Macbeth is complete.
By the way, you can view the full text of Hamlet, side-by-side with its modern translation by following the second link below.
Pearl's name is symbolic in that pearls have a luster or radiance about them, just as Hester's daughter does. Hester dresses her in fabrics that reflect the radiance of her soul. Pearl was the product of sin, yet she does not suffer any physical characteristics from the turmoil that resulted in her birth. Pearl is rare as she does not accept the poor treatment she receives from the townsfolk quietly, and her unique (and temperamental) personality is fitting for one named Pearl.
The name Dimmesdale sounds as if one is not bright. And it can be argued that some of his choices were not the smartest he could have made. Dimmesdale allows Hester to bear the brunt of the humiliation for their sin, although he is being eaten away by his secret guilt. Dimmesdale is also to Chillingworth's motives, as well. He does not seem to grasp that the constant prying into his life is not of any medical necessity. Chillingworth was supposed to be helping him medically, not trying to psychologically manipulate him. Dimmesdale does not seem to know what Chillingworth is up to.
Chillingworth's name reflects his cold personality, as well as the frosty reaction to his physical appearance he receives. Coupled with his name, his appearance adds to the perception of his true evil nature, as the novel progresses, he seems to be getting darker.
The central theme is the idea of what it truly means to be a woman in all of her manifestations: wife, mother, daughter. The "self" is neglible as defined by the mother, and is seemingly only made relavant by a woman's role in relation to others. The daughter, however, cannot accept such a narrow existence and struggles to define her own meaning of womanhood in a culture that is torn between the traditional expectations of a woman's "place" and her new reality of an integrated world.
Another way to understand this conflict is to see it in relation to their previous discussion concerning Lepidus in Act 4 and then in relation to the Brutus/Cassius conflict also in Act 4. Although Antony rouses he plebeians with rhetorical power after the assassination, we see a less attractive side of him when he and Octavius bargain over names on the death list and when he disparages Lepidus, both incidents suggesting he cherishes his own ambitions for political leadership over the good of Rome. Also in Act 4, we see Brutus and Cassius argue, but they resolve their disagreements in a warm, very human way, and this resolution throws into relief the instability between the alliance of Antony and Octavius, causing us to see that Rome without Caesar might result only in confusion and uncertainty. However, when the young Octavius overrules Antony in Act 5, we understand that he will become a good ruler for he appears just and strong, and his decision to pardon and take into his service “all that served Brutus” confirms this, for he makes it independently and it is undisputed by Antony
In the book Al Capone Does My Shirts by Gennifer Choldenko, Moose and his family have moved to Alcatraz Island. In chapter three the two children, Moose and his sister, are being taken on a tour of the island by Theresa a seven year old friend.
Theresa takes the kids past the guard tower and around the area. She tells them about the different notes that she has taken on the various criminals. She explains that they are not supposed to meet any of the criminals. She also wants to take them to the morgue.
The names of some of the prisoners are realistic people from history; Al Capone and Machine Gun Kelly. She also introduces the kids to words for things like murder such as "Rub Out."
Theresa takes them to the morgue where Moose meets another girl. The girls name is Piper an after she observes Moose's Sister Natalie she asks him if the girl is stupid. Natalie has some problems and lives in a mental world very different from the other's. Moose is protective and at times embarrassed by his sister.
At the end of the chapter his mother finds him and his sister and is upset. She had not seen their note and was worried about them.
In Chapter four, Moose wakes to his father's presence reading the newspaper. He has missed his busy father. Moose talks about how difficult it is to talk to his sister and to never get a response like she is made of stone. Moose also talks about the changes in his voice from highs to lows.
Natalie is preparing to be sent to the school called Esther P. Marinoff where she will reside. His Mother doesn’t think Moose should accompany Natalie and them on the trip. However, his father makes sure that he goes. Natalie and Moose have a different relationship formed by the dynamics of Natalie's abilities and inabilities. She likes to bring books to Moose and they read and play games using the pictures.
Natalie's trip to the coastline is uneventful. Using a book and the pages and making comments back and forth, Moose helps to guide Natalie off of the boat. Moose begins to feel sick about his sister having to live at the school. He tries to tell himself it is the right thing and the best thing for her, but he does not feel that way inside. He feels sick.
For me after reading the book "A Doll's House" one of the most significant things that I found demeaning was the manner in which Nora's husband always would act like he loved her and say sweet nice words to her, but would put her down by comparing her to her father's spending and downfall. Nora was expected to sit back and take it and just smile sweetly.
When Nora tries to find some time for herself and she shuts herself away before Christmas to make ornaments, her husband is agitated because he was bored while she was busy. Again he puts down her efforts.
Nora is very childlike in the beginning of the play. She is also self-centered and when Mrs. Linde visits Nora can not even relate to the woman having to work to survive.
Nora reveals that she was actually the one who had to raise money to help move her husband and family to Italy so that he could get better. She had never told her husband but had been working here and there to pay the money back. This was her reason for hiding away pretending to make ornaments at Christmas time.
Nora has slowly been becoming more independent from her husband. One bit of evidence of Nora's defiance of her husband's control is that she hides and eats macaroons which her husband forbids her to eat because he thinks they are bad for her teeth.
Nora transitions the most because she will not use Dr. Rank's feelings for her to gain money, and she realizes that upon the revelation of the situation of her borrowing the money and then it being resolved that her husband does not really love her. She has to take a chance on a life away from him and the children.
