Tuesday, November 3, 2015

In "The Chimney Sweeper's Complaint," what do the words wretched, helpless, and doomed convey about the speaker's condition?

A chimney sweeper is a person who is employed to clean a chimney, which is a flute leading from an open hearth. He removes soot and ash from the chimney. Creosote also builds up on the chimney's insides and may catch fire or restrict the flow of air, thus hampering a fire from burning efficiently.

During the Industrial era, chimney sweepers became an essential part of life. They were sought after since many people moved to the cities, which meant more houses and, therefore, more chimneys. Obviously, the factories also had chimneys. Adult chimney sweepers used boys as apprentices to enter the chimneys and clean them. The job was extremely risky and boys (and some girls) even as young as four were used to go up the chimneys and clean them.


The risks to chimney sweepers' apprentices were enormous. Many died when they got stuck in the chimneys, mostly of suffocation. They also developed a variety of illnesses and diseases such as asthma and cancer of the scrotum. Many children were abused by their masters, and they lived in torrid conditions. They hardly ever washed and slept in the clothes they wore. These unhygienic conditions obviously contributed to early deaths.


The chimney sweeper in Mary Alcock's poem is, in terms of what is stated above, not a chimney sweeper per se, but rather his assistant. Considering the type of work that he/she has to do, the word 'wretched' signifies that the sweeper is desperately unhappy, lives in terrible conditions, and is terribly poor and unlucky. The life of a chimney sweep's assistant, furthermore, is one of exploitation and abuse. For this reason then, one can only have sympathy for one exposed to such atrocious circumstances.


The narrator's cry is one for help, emphasised by the word 'helpless.' The word does not convey the idea that the sweep cannot be helped but that he/she is not able to help him/herself. In other words, he/she is a powerless victim who is exposed to the whims of his/her master. The sweeper has no control over his/her destiny since the master controls every aspect of the sweeper's life. The sweeper wants to be rescued from this torrid life and, thus, gives this desperate cry.


The word 'doom' ties in with helplessness and conveys the idea that the sweeper's assistant feels that there is no escape. He or she is trapped in these miserable conditions. There is, literally and figuratively, no light at the end of the tunnel. So desperate is the sweeper's desire to escape this life of anguish that he/she would rather embrace death than continue living such a desperate, unfulfilled and hopeless life, as is poignantly suggested in the last two lines of the poem:



Oh, could I hide me underground,
How thankful should I be!


Monday, November 2, 2015

`1/(4x^2 - 9)` Write the partial fraction decomposition of the rational expression. Check your result algebraically.

`1/(4x^2-9)=1/[(2x+3)(2x-3)]`


`1/(4x^2-9)=A/(2x+3)+B/(2x-3)`


``


Multiply through the the LCD `4x^2-9.`


`1=A(2x-3)+B(2x+3)`


`1=2Ax-3A+2Bx+3B`


`1=(2A+2B)x+(-3A+3B)`



Equate the coefficient of like terms. Then solve for A and B.


`0=2A+2B`


`1=-3A+3B`


Use the elimination method to solve for A and B. Multiply the first equation by 3


and multiply the second equation by 2.


`0=6A+6B`


`2=-6A+6B`


--------------------


`2=12B`


`B=1/6`



`0=2A+2B`


`0=2A+2(1/6)`


`A=-1/6`



`A=-1/6, B=1/6`



`1/(4x^2-9)=-1/[6(2x+3)]+1/[6(2x-3)]`



`1/(4x^2-9)=1/[(2x+3)(2x-3)]`


`1/(4x^2-9)=A/(2x+3)+B/(2x-3)`


``


Multiply through the the LCD `4x^2-9.`


`1=A(2x-3)+B(2x+3)`


`1=2Ax-3A+2Bx+3B`


`1=(2A+2B)x+(-3A+3B)`



Equate the coefficient of like terms. Then solve for A and B.


`0=2A+2B`


`1=-3A+3B`


Use the elimination method to solve for A and B. Multiply the first equation by 3


and multiply the second equation by 2.


`0=6A+6B`


`2=-6A+6B`


--------------------


`2=12B`


`B=1/6`



`0=2A+2B`


`0=2A+2(1/6)`


`A=-1/6`



`A=-1/6, B=1/6`



`1/(4x^2-9)=-1/[6(2x+3)]+1/[6(2x-3)]`



Do the unrealistic elements in Beowulf compromise its value as a literary work?

According the Merriam-Webster Dictionary, an epic is "a story about a hero or about exciting events or adventures." The dictionary also states that an epic often extends beyond the usual or ordinary. Some other words the dictionary notes about the word are: great, large, impressive, and legendary. 


Beowulfis fiction, and should be read in such a way. Therefore, its unrealistic elements played throughout the characters, settings, and events don't compromise its value as an...

According the Merriam-Webster Dictionary, an epic is "a story about a hero or about exciting events or adventures." The dictionary also states that an epic often extends beyond the usual or ordinary. Some other words the dictionary notes about the word are: great, large, impressive, and legendary. 


Beowulf is fiction, and should be read in such a way. Therefore, its unrealistic elements played throughout the characters, settings, and events don't compromise its value as an excellent piece of literature. The epic's survival speaks for itself. Even without an author, the classic poem has survived since the years 500-1100. It is still read today in many classrooms around the world. 


The fact that the characters in Beowulf were formed around characteristics of Scandinavian and Celtic people also furthers the point that this type of story was one that would likely entertain readers with its larger-than-life characters, unfeasible battle halls, and enchanted weapons. The story has been passed down for many years, was eventually written, and was adapted into many film versions. The exaggerated tale expressed in the long epic is probably as popular as it is today because of its unrealistic elements. 

Sunday, November 1, 2015

Does Robert Frost know who owns the woods?

The speaker of the poem, who is presumably Robert Frost himself, thinks he knows who owns the woods he has stopped to look at. The first stanza reads:


Whose woods these are I think I know.   His house is in the village though;   He will not see me stopping here   To watch his woods fill up with snow. 


He is pretty sure he knows the owner, but he must not know him...

The speaker of the poem, who is presumably Robert Frost himself, thinks he knows who owns the woods he has stopped to look at. The first stanza reads:



Whose woods these are I think I know.  
His house is in the village though;  
He will not see me stopping here  
To watch his woods fill up with snow. 



He is pretty sure he knows the owner, but he must not know him very well or he would be completely sure whether he was the owner of the woods. The owner lives in town and Frost lives in the country, so they would not be likely to be friends. However, the man Frost thinks owns these woods would recognize him if he saw him stopping to look at them. There is a certain air of mystery in the quoted stanza. Why should Frost care whether the owner sees him looking at his woods? In other words, why should Frost be particularly concerned about being seen by that one man and not by other passers-by? This is rural New Hampshire. Everybody knows everybody. Anybody who saw Frost stopped in that spot would probably recognize him. But Frost apparently is not concerned about being seen by anyone other than the owner of these trees.



The time is specified as December 21st, which is the "darkest evening of the year" because it is the longest. At that time of year the deciduous trees would have all shed their leaves. The only trees worth looking at would be spruce trees. Many people raise spruce trees in New Hampshire to sell them as Christmas trees. They are an important crop. Frost is stopping to look at the trees "fill up with snow" because it is a beautiful sight. But he knows that the owner of the trees would not understand that he was only enjoying an aesthetic experience. The owner would think that Frost was probably planning to chop down one of the saplings and take it home to decorate for a Christmas tree. People in rural New Hampshire surely do not buy their Christmas trees off a man in a leather jacket who is renting a vacant lot in some city or large town and living in a little trailer. They go out and chop down a tree. This is all right as long as they don't chop down a tree that some neighbor is raising to sell.



Perhaps Frost is a little worried about being seen by the owner of the trees because he has some notion in the back of his mind of doing just what he thinks the owner would suspect him of planning. It is but one step from admiring something to wanting to take possession of it. If Frost had sat there long enough he might have decided that one little evergreen tree wasn't going make any difference to a man who owned so many.



Frost once said:




Everything written is as good as it is dramatic. It need not declare itself in form, but it is drama or nothing.



Frost tried to make his poems dramatic, and he added a touch of drama to "Stopping by Woods on a Snowy Evening" by introducing the possibility of being seen by the owner, who might not be sitting by his fireplace in the village but might be out running errands, just like Frost himself. The owner would not have a poetic temperament or an appreciation of snow-laded spruce trees for anything except their commercial value. He would not understand that Frost was "just looking." What he would think would be that he had arrived just in time to save one of his saplings. Whether or not Frost might have been thinking of stealing a Christmas tree, the owner would tell other people about the incident, and it would hurt Frost's reputation. So there was just enough danger to make the little poem dramatic.





How does the poem "When We Two Parted" build up a romantic atmosphere?

Lord Byron's poem "When We Two Parted" is a first-person monologue spoken to the narrator's lover. The title of the poem, "When We Two Parted," suggests before even reading the poem that the subject matter will be love, or more accurately the separation of lovers. The poem is written in rhymed meter that follows an alternating syllable count by line from six to five. This adds to the romantic atmosphere of the poem by making...

Lord Byron's poem "When We Two Parted" is a first-person monologue spoken to the narrator's lover. The title of the poem, "When We Two Parted," suggests before even reading the poem that the subject matter will be love, or more accurately the separation of lovers. The poem is written in rhymed meter that follows an alternating syllable count by line from six to five. This adds to the romantic atmosphere of the poem by making the reading sound like a fluid song of longing and care. Byron builds the romantic atmosphere of the poem by presenting the narrative of the two separated lovers in a way that does not immediately tell the reader what happened in their time together that made them have to part ways. The poem actually begins when they are no longer together: "When we two parted / In silence and tears." Beginning here, instead of when they are still together, makes the reader question what happened to them, immediately grabbing the reader's interest. While being careful not to explicitly say it until the last stanza Byron describes a affair that comes into the public's eye, thus shaming both lovers. Using sly phrasing, such as "Thy vows are all broken, / And light is thy fame: / I hear thy name spoken, And share in its shame," Byron sketches the outlines of the affair, building an atmosphere of suspenseful romance. Finally in the last stanza, which begins, "In secret we met - / In silence I grieve," we can finally make the assumption that this affair was not meant to be a love story for the public's eye. Byron's use of secretive phrasing throughout the poem lends hand to a romantic account of a historic affair. Read more about the historical context of this poem at the poem summary linked below.

Do you think experience should be the most important requirement to become a president in the U.S.?

This is, of course, a matter of personal opinion.  My own view is that experience probably should not be the most important qualification that we would look for in a presidential candidate, mainly because there are not really any jobs out there that really count as relevant experience for the job of being president.


Some people say that being governor of a state is good experience for being president.  This may be true in the...

This is, of course, a matter of personal opinion.  My own view is that experience probably should not be the most important qualification that we would look for in a presidential candidate, mainly because there are not really any jobs out there that really count as relevant experience for the job of being president.


Some people say that being governor of a state is good experience for being president.  This may be true in the sense that you have to work with a legislature and run a government.  But governors do not have to do foreign relations or defense policy.  They do not have to try to get legislation through a group as large as Congress and with as many different factions.


President Obama was a senator and so are Ted Cruz and Marco Rubio, two of the Republican frontrunners right now.  Senators do have to try to get laws through Congress (if they have laws they want to pass), but they do not do any administration.  They do not actually have to run a government.


What this means is that there really aren’t any jobs that actually prepare a person to be president.  For this reason, I think that the more important factor is the personality of the person running.  Will they be able to effectively get along and work with their political enemies?  Will they be able to communicate their agenda in a way that the American people respond to?  Will they have the temperament needed to face unpredictable crises that will come their way?  Will they be willing to put in the work needed to learn about issues they don’t currently know about?  Will they be humble enough to listen to others’ voices?  I would argue that these factors are more important than the previous offices they have held.

What is more important, humans or nature? What are five reasons that support each side?

Humans are more important than nature:


1) The idea of nature requires the human mind, consciousness, knowledge to conceptualize and qualify what the existence (or nature) of nature even is to give nature legible form in language


2) The history of human civilization is the history of the domination of nature to human mastery -- think of the transformations of vast natural landscapes into urban and agricultural human settlements, the development of technology, sciences, etc.


...

Humans are more important than nature:


1) The idea of nature requires the human mind, consciousness, knowledge to conceptualize and qualify what the existence (or nature) of nature even is to give nature legible form in language


2) The history of human civilization is the history of the domination of nature to human mastery -- think of the transformations of vast natural landscapes into urban and agricultural human settlements, the development of technology, sciences, etc.


3) The increasingly accepted idea of the Anthropocene attests to the fact that humans are a geologic force with the power of altering the trajectory of the earth (a role that nature supposedly once played)


4) In addition to humans mastering nature, they also can create nature -- artificial or synthesized natures (think AI or Genetically Modified Organisms)


5) Nature cannot be transformed into wealth without modification by socially necessary human labour 


Nature is more important than humans:


1) Humans evolved from nature; nature is the primordial stuff of human life, social life


2) Even after having evolved a distinctly cultural nature, it is natural (as in environmental) factors that shape the possibilities and impossibilities of particular cultural formations 


3) Whenever humans think they have mastered nature, nature comes back with a vengeance...it is non-discriminatory in its destructiveness to other forms of life and human life alike 


4) Nature is a necessary precondition for not just wealth creation but subsistence (biological sustenance)


5) Humans lose their humanity as they destroy nature and their relationship to the (pre-technocratic) natural -- both at a philosophical level and material level, as their mode of production breaches the limit of planetary boundaries 

What is the Exposition, Rising Action, Climax, and Falling Action of "One Thousand Dollars"?

Exposition A "decidedly amused" Bobby Gillian leaves the offices of Tolman & Sharp where he is given an envelope containing $1...