Why did John go back to the South?

In Gary Paulsen's Nightjohn, John is a runaway slave who escapes all the way to the North. However, he enters into the story tied to a horse with scars covering his body. He is immediately put to work, and it isn't until later when he has established himself as a mentor to Sarny that he reveals what brought him back to the South.
In chapter 4, when Mammy is questioning his intentions to teach her daughter, she asks about his scars and wonders if he got them because the masters found out he can read. John replies that he got them when he ran. Mammy assumes he got caught, and John replies, "First time I ran I got clean away. I went north, all the way. I was free." When asked why he came back, he says, "For this . . . To teach reading." This shocks the other slaves, and they grow even more surprised when he continues, saying that he also returned to teach writing. He then explains his capture, saying,

I wasn't going to get caught. I had in mind moving, moving around. Teaching a little here, a little there. But I got slow and they got fast and some crackers caught me in the woods. They were hunting bear, but the dogs came on me instead and I took to a tree and they got me.

Mammy asks why it's important that they know how to write, because "it's just grief for them. Longtime grief." At this, John explains his true reason for returning, saying "[they] have to read and write. We all have to read and write so we can write about this—what they doing to us. It has to be written."Because he was free and safe yet chose to return and risk his life, John's story is a testament to both his love for those who share his suffering and the never-ending persistence of progress.

How does the functional group affect the action of cocaine?

Cocaine is one of the most powerful addictive stimulant drugs known to mankind. It is produced from the leaves of the coca plant, which is commonly found in South America. Cocaine is a weakly alkaline chemical compound. There are various chemical forms of cocaine that are available, and depending on their functional groups, their properties are different. These forms are:
1) Cocaine hydrochloride, which is available in powder form and can be used intravenously or nasally. This form of cocaine is prepared by neutralizing the alkaline character of cocaine by using acids. The hydrochloride form is the most common, although sulfate and nitrate functional groups may also be added instead of hydrochloride. The presence of the hydrochloride group makes this form of cocaine water-soluble, which means it can be dissolved in water and used intravenously.
2) Freebase Cocaine—this form does not have the hydrochloride group in it and is typically prepared through neutralization of the salt group using an alkaline solution. Freebase cocaine is water-insoluble, unlike the hydrochloride form. This form of cocaine is usually smoked.
3) Crack Cocaine—this form of cocaine is produced by treatment of cocaine hydrochloride with ammonia or sodium bicarbonate and water, which is followed by heat treatment to remove the hydrochloride group. Crack cocaine is typically used by inhaling its vapors. Crack cocaine can be up to 100% pure cocaine and hence is the most lethal. It gives the user a "high" very quickly as it reaches the brain faster than the other forms and hence is also more likely to cause an overdose.
Freebase and crack cocaine are the more addictive forms of cocaine. And the lack of a hydrochloride group ensures that these forms are smoked, thus reaching the brain faster and giving the user the "high" sensation faster as compared to the hydrochloride form.
Thus, depending upon the presence of the functional group, cocaine forms can have different types of usage pathways (intravenously vs nasally vs smoking), can have different rates of effects (faster vs slower high), and may have more addictive effects than other forms.
Hope this helps.

Precalculus, Chapter 9, 9.4, Section 9.4, Problem 44

1/(2*3),1/(3*4),1/(4*5),1/(5*6),..........1/((n+1)(n+2))
Let's write down the first few sums of the sequence,
S_1=1/(2*3)=1/6=1/(2(1+2))
S_2=1/(2*3)+1/(3*4)=1/6+1/12=(2+1)/12=3/12=1/4=2/(2(2+2))
S_3=1/(2*3)+1/(3*4)+1/(4*5)=1/4+1/20=(5+1)/20=3/10=3/(2(3+2))
S_4=1/(2*3)+1/(3*4)+1/(4*5)+1/(5*6)=3/10+1/30=(9+1)/30=1/3=4/(2(4+2))
From the above, it appears that the formula for the k terms of the sequence is,
S_k=k/(2(k+2))
The formula is already verified for n=1,
Now let's assume that the formula is valid for n=k and we have to show that it is valid for n=k+1
S_(k+1)=1/(2*3)+1/(3*4)+.........1/((k+1)(k+2))+1/((k+2)(k+3))
S_(k+1)=k/(2(k+2))+1/((k+2)(k+3))
S_(k+1)=(k(k+3)+2)/(2(k+2)(k+3))
S_(k+1)=(k^2+3k+2)/(2(k+2)(k+3))
S_(k+1)=(k^2+2k+k+2)/(2(k+2)(k+3))
S_(k+1)=(k(k+2)+1(k+2))/(2(k+2)(k+3))
S_(k+1)=((k+2)(k+1))/(2(k+2)(k+3))
S_(k+1)=(k+1)/(2(k+3))
S_(k+1)=(k+1)/(2(k+1+2))
So the formula is true for n=k+1 also,
Hence the formula for the sum of the n terms of the sequence is,
S_n=n/(2(n+2))

Single Variable Calculus, Chapter 7, 7.2-2, Section 7.2-2, Problem 86

If $f''(x) = x^{-2}$, $x > 0$, $f(1) = 0$ and $f(2) = 0$, find $f$
If $f''(x) = x^{-2}$, then by applying integration...

$
\begin{equation}
\begin{aligned}
f'(x) &= \int x^{-2} dx\\
\\
&= \frac{x^{-1}}{-1} + c_1\\
\\
&= -\frac{1}{x} + c_1
\end{aligned}
\end{equation}
$

Again, by applying integration...

$
\begin{equation}
\begin{aligned}
f(x) &= \int \left( -\frac{1}{x} + c_1 \right) dx\\
\\
f(x) &= - \ln x + c_1 x + c_2
\end{aligned}
\end{equation}
$


If $f(1) = 0$, then

$
\begin{equation}
\begin{aligned}
0 &= - \ln (1) + c_1(1)+c_2\\
\\
0 &= c_1 + c_2\\
\\
c_1 &= c_2 \qquad \Longleftarrow \text{(Equation 1)}
\end{aligned}
\end{equation}
$

Also, if $f(2) = 0$, then

$
\begin{equation}
\begin{aligned}
0 &= -\ln(2) + c_1(2)+c_2\\
\\
\ln(2) &= 2c_1 + c_2 \qquad \Longleftarrow \text{(Equation 2)}
\end{aligned}
\end{equation}
$

By using Equations 1 and 2 simultaneously...

$
\begin{equation}
\begin{aligned}
\ln (2) &= 2c_1 - c_1\\
\\
c_1 &= \ln 2
\end{aligned}
\end{equation}
$

Thus, $c_2 = - \ln 2$
Therefore,
$f(x) = -\ln x + x \ln (2) - \ln (2)$

Explain your answer and be sure to address both sides, discussing why you support one and oppose the other. Be specific and cite any sources you use; do not take quotes directly from any source without proper punctuation and citations. The Post-Cold War is more dangerous than the Cold-War. In favor of Cold War. A. The Cold War (1949-1991) was an era of greater danger for the national security of the United States than is the era that began in 1991 and continues today, even after 9/11. The threat of nuclear destruction, a global competition for allies and economic resources, and four decades of espionage and counter-espionage as well as other matters comprised a system of world politics that presented greater danger to Americans than the current world system. or B. The Post-Cold War era (1991-present) presents greater danger to the national security of the United States than did the era of the Cold War. The Cold War nuclear threat was obviously a high-level threat, but by the 1960s (after the Cuban missile crisis) the United States and the Soviet Union constructed a relationship which remained hostile but realistic and in which the purposeful use of nuclear weapons was highly unlikely. In contrast, the United States faces a world of many dangers, from hostile and growing competitors like China and Iran to very flexible and violent terrorist and criminal organizations that do not align with the world's national borders. The threat of a terrorist organization obtaining and using a nuclear weapons is more likely than was the launch of a thousand nuclear weapons by the Soviet Union.

The probability of a major conflict happening may be higher now than it was during the Cold War. However, the probability of that conflict being completely catastrophic for all of human civilization has been dramatically reduced. Therefore, I conclude that in the most important sense, we are safer now than we were 30 years ago.There are international relations scholars who believe otherwise, such as John Mearsheimer who argues that a war between the US and China is likely as China's economic growth continues. In my opinion, this argument neglects the fact that China's economic growth is largely driven by trade with the US; far from making war more likely, China's economic development could make it almost unthinkable, just as war between the US and Germany is now almost unthinkable despite being an event that happened within living memory.The Doomsday Clock has also been set higher than it was during most of the Cold War, but this is frankly baffling, because during the Cold War we had thousands more nuclear weapons than we do now, and were actively maintaining a policy of rapid and overwhelming nuclear response. Today, even if the worst did come to pass and a fanatical Islamist organization like ISIS obtained and used a nuclear weapon, this would not result in a full-scale nuclear exchange. The absence of a government and cities to target is terrifying in its own way, but it eliminates even the possibility of an overzealous US nuclear response, as there is nothing to aim the nukes at. It would surely trigger a war, and the death toll could be in the millions---but in the Cold War we were talking about billions.Indeed, I may be wrong to concede even that a major conflict is more likely. Overall the world is quite simply more peaceful now than it was then: "state-based armed conflict declined by 40 percent from 1992 to 2003", reports The Atlantic based on the 2009/2010 Human Security Report, and furthermore "The last ten years have seen fewer war deaths than any decade of the past century."
https://thediplomat.com/2014/01/us-china-rivalry-more-dangerous-than-cold-war/

https://thehill.com/policy/defense/267067-doomsday-clock-world-more-dangerous-than-during-cold-war

https://www.theatlantic.com/international/archive/2011/12/peace-in-the-post-cold-war-world/249863/

Calculus of a Single Variable, Chapter 9, 9.6, Section 9.6, Problem 24

In using Root test on a series sum a_n, we determine the limit as:
lim_(n-gtoo) root(n)(|a_n|)= L
or
lim_(n-gtoo) |a_n|^(1/n)= L
Then, we follow the conditions:
a) Llt1 then the series is absolutely convergent.
b) Lgt1 then the series is divergent.
c) L=1 or does not exist then the test is inconclusive. The series may be divergent, conditionally convergent, or absolutely convergent.
We may apply the Root Test to determine the convergence or divergence of the series sum_(n=1)^oo (-1)^(n-1) *(3/2)^n/n^2 .
lim_(n-gtoo) |((-1)^(n-1) *(3/2)^n/n^2 )^(1/n)| =lim_(n-gtoo) |(-1)^((n-1)*1/n)(3/2)^(n*1/n)/n^(2*1/n)|
=lim_(n-gtoo) |(-1)^(n/n-1/n)(3/2)^(n/n)/n^(2/n)|
=lim_(n-gtoo)( 1 * (3/2)^1/n^(2/n))
=lim_(n-gtoo) (3/2)/n^(2/n)
Note: |(-1)^(n/n-1/n)| = 1
Apply the limit property: lim_(x-gta)[(f(x))/(g(x))] =(lim_(x-gta) f(x))/(lim_(x-gta) g(x)).
lim_(n-gtoo) (3/2)/n^(2/n)=(lim_(n-gtoo) 3/2)/(lim_(n-gtoo)n^(2/n))
= ((3/2))/1
=3/2 or 1.5
The limit value L = 3/2 or 1.5 satisfies the condition: Lgt1 since 3/2gt 1 or 1.5gt1 .
Thus, the series sum_(n=1)^oo (-1)^(n-1) *(3/2)^n/n^2 is divergent.

How do increased or frequent evictions affect a neighborhood?

While most of the scholarship on eviction has focused on the effects of eviction on the tenants being evicted, the cycle of eviction also affects neighborhoods. To a degree, how neighborhoods are affected depends on the purpose of eviction.
The first type of eviction accompanies gentrification. In this case, as a neighborhood becomes popular or fashionable among the (usually white) upper classes, poorer tenants are evicted so that buildings can undergo extensive renovations and be rented out or sold as condominiums to wealthier occupants. In such cases, property prices rise dramatically, pricing out poorer inhabitants and often driving out the minorities or ethnic groups that were originally part of the neighborhood. Although some of the effects of gentrification, such as reduced crime and aesthetic improvement, are positive, gentrification also makes housing increasingly unaffordable in urban centers and drives out families who have lived in a certain region for generations.
A second type of eviction, and the one with which Matthew Desmond is most concerned, is based on tenants being unable to afford rent or rebelling against paying high rates for substandard housing. In these cases, eviction breaks the already fragile bonds of community in poor neighborhoods and contributes to a cycle of poverty, crime, and homelessness. The constant turnover in tenancy also perpetuates a vicious cycle of slumlords offering substandard housing which deteriorates as it is occupied by a constantly changing group of short-term residents. Because tenancy is seen as temporary, neither landlords nor occupants invest in the sort of improvements that occur in more stable housing areas.

Beginning Algebra With Applications, Chapter 6, 6.2, Section 6.2, Problem 32

Solve the system
$
\begin{equation}
\begin{aligned}

x-7y =& 4
\\
-3x+2y =& 6

\end{aligned}
\end{equation}
$

by substitution.



$
\begin{equation}
\begin{aligned}

x-7y =& 4
&& \text{Solve equation 1 for } x
\\
x =& 7y + 4
&&
\\
-3x+2y =& 6
&& \text{Substitute $7y+4$ for $x$ in equation 2}
\\
-3(7y+4)+2y =& 6
&&
\\
-21y -12 + 2y =& 6
&&
\\
-19y =& 6+12
&&
\\
-19y =& 18
&&
\\
y =& \frac{-18}{19}
&&

\end{aligned}
\end{equation}
$


Substitute value of $y$ in equation 1


$
\begin{equation}
\begin{aligned}

x =& 7 \left( \frac{-18}{19} \right)+4
\\
\\
x =& \frac{-126}{19} +4
\\
\\
x =& \frac{-50}{19}

\end{aligned}
\end{equation}
$


The solution is $\displaystyle \left( \frac{-50}{19}, \frac{-18}{19} \right)$.

What are the literal and figurative meanings to the Roman fever in Edith Wharton’s short story, "Roman Fever"?

The double meaning of "Roman Fever" is that it refers literally to an feverish ailment to which one is susceptible in the cool air after sunset, and figuratively to a feverish battle for Delphin Slade by two women who were rivals for his love.
On their second trip to Rome, one in which they are the spectators rather than the actors in what occurs, Grace Ansley and Alida Slade sit quietly on the parapet watching the sun set over the ancient city. They are

...two ladies who had been intimate since childhood [but they] reflected how little they knew each other.

Both ladies have "visualized each other...through the wrong end of her little telescope." Mrs. Slade thinks of how Mrs. Ansley is much less articulate than she; Mrs. Ansley thinks about how "Alida Slade's awfully brilliant, but not as brilliant as she thinks." Clearly, they yet harbor feelings of rivalry between them. For a while they sit without speaking. In fact, they have met by coincidence as they are staying at different hotels, having been unaware of the other's plans to visit Rome. This situation is ironic because so many years ago neither was aware of the other's schemes then, either. For, Grace Ansley had no idea that the note to meet Delphin at the Coliseum was forged by Alida, nor did Alida know that Grace replied to Delphin and he actually met her that night. In fact, she conceived her daughter Barbara that Roman evening, and was later confined at home not because she was sick, as people had thought.
These revelations between the two rivals who were once thought of by others as friends, change the scope of their relationship forever. While their return to Rome has given no one an ailment because of the cool evening air, there has certainly been a fever of emotional honesty. 

How would you classify your parents’ child-rearing styles? What factors might have influenced their approach to parenting?

Since I obviously can't address your individual situation, I will discuss parenting styles in general terms that will help you identify how your parents have approached child-rearing. At the end, I will also mention some of the things that can influence parents.
As proposed by Diana Baumrind, a parenting style isn't any particular tactic, but rather the general approach that a parent takes to guiding, socializing, or controlling a child. Psychologists recognize four such styles.
Authoritarian parenting is what we observe when the parent demands blind obedience and seeks to control behavior through punishment or the threat of punishment. This may include the withdrawal of affection.
Permissive parenting emphasizes emotional warmth and a disinclination to enforce limits. The permissive parent is friendly and encouraging, but fails to step in when the child does something selfish, destructive, rude, or harmful.
Authoritative parenting represents a middle ground where a parent enforces certain standards of behavior, but also provides the child with lots of affection and support for autonomy.
The last parenting style, uninvolved parenting, was added after Baumrind's initial formulation. Uninvolved parents—as the terminology suggests—are parents who provide their kids with very little except the bare minimum of food and shelter.
To apply these definitions to your own parents, you first need to ask yourself if your parents held you to behavioral standards. Was it understood that there were expectations and limits?
If you were pretty much allowed to do what you want—even selfish, harmful, or antisocial behaviors—then by these definitions your parents were either permissive or uninvolved. If they were also affectionate and loving, then they were permissive, not uninvolved.
To distinguish between authoritative and authoritarian parenting, you need to ask if your parents attempted to control you through threats and punishment or by reasoning with you. Did they demand unquestioning obedience? Were they unwilling to entertain discussions about the reasons for rules? If so, they were authoritarian. Did they impose heavy-handed disciplinary actions or punish you for transgressions by becoming cold and withdrawn? Again, these are the characteristics of authoritarian parenting.
Although Baumrind and others initially emphasized the importance of affection in distinguishing between authoritarian and authoritative parenting, this has been criticized as culturally-biased. The parenting style definitions were devised in a predominantly middle-class, European/ American context, and researchers like Ruth Chao note that these definitions don't always provide a good fit for parents from other cultures.
For instance, traditional Chinese parenting resembles authoritarian parenting in some ways, but it is notably affectionate. For this reason, I think the best, least controversial way to distinguish authoritarian from authoritative parenting is to focus on reasoning: Authoritative parents explain and discuss the reason for their rules.
What influences a parent's style? As suggested above, it's partly a question of culture: What you grew up with yourself, and what you see as normative around you. Personality traits also play a role. Some people are more temperamentally inclined toward an authoritarian outlook, for instance.
Scholars like Judith Rich Harris have also made the point that children themselves influence the way their parents react. A child who is frequently defiant and aggressive is going to evoke negative reactions, and if a parent wants to rein him or her in and is having difficulty with an authoritative approach, then the parent may start resorting to harsh punishment and drift into a more authoritarian style. Alternatively, a depressed parent may give up and become permissive, or even uninvolved.
References
See links below, and also -
Chao R. 1994. "Beyond parental control; authoritarian parenting style: Understanding Chinese parenting through the cultural notion of training." Child Development 45: 1111-1119.
Harris, JR. The Nurture Assumption: Why Children Turn Out the Way They Do. The Free Press.
http://persweb.wabash.edu/facstaff/hortonr/articles%20for%20class/baumrind.pdf

https://www.parentingscience.com/parenting-styles.html

How are the beauty and makeup industry examples of capitalism? Please relate to Marx's theories and Adorno and Horkheimer's theories.

If we use the Oxford English Dictionary's definition of capitalism: "An economic and political system in which a country's trade and industry are controlled by private owners for profit, rather than by the state," then the answer to the first part of your question is very basic. In the global market, the vast majority of beauty and makeup corporations are privately owned and run for profit, thus making them examples of capitalism.
To expand into the philosophies you cite: Marx wrote in Das Kapital, “Here individuals are dealt with only as fact as they are personifications of economic categories, embodiments of particular class-relations and class interests.” Both the beauty and makeup industries are excellent examples of this, as they are extremely niche-oriented, targeting low-income, middle-income and high-income individuals very differently, as well as various ethnic groups, and having an interest in both showing and maintaining the class differences via the physical representation of the classes' members.
Adorno's concepts of "false needs" and "commodity fetishism" obviously directly apply to these industries as well. Does anyone actually need 50 lipsticks or a $450 moisturizer? But the supposed status conferred on someone who can afford them is actually perceived as worth more than the items themselves. And, the planned obsolescence of the items promoted by the industries keeps the cycle repeating.
Adorno's collaborator Max Horkheimer's work on "materialism" also can be applied directly to industries that equate happiness with acquiring more and more possessions. The beauty and makeup industries are expert at exploiting the human need to appear attractive to other humans by offering material "solutions" to problems people sometimes are not even aware they have. "Just one more wrinkle cream, one more exfoliator, and you'll be happy with your appearance and, by extension, your life" is their very effective pitch.
 

What happened to Mr. Cadaver?

After relocating to Ohio with her father, Sal particularly resents Margaret Cadaver who seems to relate well with her father. She is convinced that Margaret is intent on taking her late mother’s place in her father’s life and sees no good whatsoever in her. Therefore, when Phoebe tells her that Margaret likely conspired with her blind mother to kill Mr. Cadaver, she detests her further.
The truth about Mr. Cadaver’s death is revealed later by Mr. Birkway, Margaret’s brother. He tells Phoebe and Sal that Mr. Cadaver died in an accident; a drunk driver hit a car which Mr. Cadaver and his mother-in-law were in. Whereas Mr. Cadaver died, his mother-in-law survived but lost her sight. Coincidentally, Margaret, a nurse, was on duty at the hospital when her husband and mother were rushed in as casualties, and she witnessed her husband’s demise. After this revelation, Sal becomes empathetic towards Margaret who as it turns out is actually a pleasant person who has been through a lot.

On what condition is the speaker prepared to change his dark complexion?

The Prince of Morocco refers to his complexion when wooing Portia. He is aware of the racism against men with his skin color. Earlier, Portia expressed frustration at having to face yet another suitor: “if he have the condition of a saint and the complexion of a devil, I had rather he should shrive me than wive me.” By “complexion of a devil” she is referring to the prince and his dark skin.
The prince immediately addresses these concerns, referring to his skin as “The shadow'd livery of the burnish'd sun.” He has no problem with his race, knowing that he is as brave and worthy as any. He even brags that beautiful women in his country have loved him for his looks, including his tawny skin. However, the only reason he would change his skin color would be to win Portia’s approval: “I would not change this hue, / Except to steal your thoughts, my gentle queen.”
Portia assures the prince that he has as good a chance as any suitor, since she is unable to select her husband herself. He fails the test that her deceased father set up and must leave in shame. Portia seems to have some respect for him, but she says, “Draw the curtains, go. / Let all of his complexion choose me so,” expressing a disdain for men who are not white.
http://shakespeare.mit.edu/merchant/full.html

College Algebra, Chapter 4, 4.2, Section 4.2, Problem 78

a.) Graph the function $P(x) = (x -1 )( x- 3)( x- 4)$ and find all the local extrema.
b.) Graph the function $Q(x) = (x - 1)( x - 3) (x - 4) + 5$ and use your answers to part (a) to find all local extrema

a.)


Based from the graph, the function has a local maximum at approximately $(1.75, 2.10)$ and local minimum at $(3.50, -0.60)$
b.)


Since the function in part(b) is the function in part(a) that is shifted 5 units upward, then only the $y$ coordinates of the local extrema will be added by 5. Thus, the function has a local maximum at $(1.75, 7.10)$ and local minimum at $(3.50, 4.40)$

Who comes to the door just as Mrs. Joe is inviting the guests to taste her pork?

Joe Gargery, Pip, and their assembled guests have just sat down to sample one of Mrs. Joe's legendary savory pork pies. But Pip isn't looking forward to it. In fact, he's filled with terror. For there is no pie; he stole it from the larder and took it to Abel Magwitch, cold and starving out there on the Romney Marshes.
Pip cannot stand the tension; he knows his theft will soon be exposed. And Mrs. Joe has just discovered that the pie is missing from the larder. So Pip starts to make a run for it. Suddenly, there is a knock at the door. There's a group of soldiers there and Pip runs right into them. The sergeant is looking for a blacksmith to fix a pair of handcuffs. They are out searching for escaped convicts, one of which, of course, is none other than Abel Magwitch.
The sudden appearance of the soldiers at the door has allowed Pip to escape a beating from Mrs. Joe. Later on, as he witnesses the apprehension of the two fighting convicts, Abel Magwitch falsely confesses to having stolen some items from Joe Gargery, including a savory pork pie. This is a huge relief to Pip, who is now completely in the clear.

How is love defined in Romeo and Juliet?

The most important issue here is that Romeo and Juliet is a play in which different characters define love in different ways. There is no narrator who provides some generally accepted definition by which the opinions and habits of characters can be judged or measured.
Romeo thinks of love as a form of overwhelming and all-consuming passion. Given his extreme fickleness and impulsiveness, his definition of love is what many viewers would consider a crush or form of infatuation.
Friar Laurence is a priest who would consider the ultimate form of love that of Jesus who sacrificed himself to save humanity as a whole. Friar Laurence is skeptical concerning the model of love advocated by Romeo, seeing true love as something deeper and longer term. His vision of love is also unselfish, as he considers ending a feud that is harming the city just as important as the desires of Romeo. His version of love is what one would call "agape" or spiritual love which embraces all of humanity rather than an erotic love focused on an individual.
Prince Escalus is an example of patriotic love which is focused on the city as a whole. Paris sees love not as romantic but rather as an arrangement that builds family and social bonds within a community.

How love is defined in the play depends on whom you ask, and when you ask them.
Most of the famous quotes about love in the play come from Romeo. For example, when he's in love with Rosaline, he says that "love is a smoke made with the fume of sighs"—in other words, love is insubstantial, like the air. He also says before meeting Juliet that love is "too rough, too rude, too boisterous, and it pricks like thorn." When he comes to visit Juliet in the orchard, though, he says "with love's light wings did I o'erperch these walls / For stony limits cannot hold love out /And what love can do, that dares love attempt." Romeo's love for Juliet, unlike his love for Rosaline, gives him strength and courage. But it also makes him take foolish risks.
When Juliet first hears about love in the play, she is doubtful that it has much to do with appearances: her mother asks "can you like of Paris' love?" and Juliet replies "I'll look to like, if looking liking move." When she meets Romeo, she begins to think of love as a blossoming flower: "This bud of love, by summer’s ripening breath, / May prove a beauteous flower when next we meet." Unlike Romeo, who views love as "light" and airy whether it's good or bad, Juliet's love is more solid and down-to-earth.
Benvolio refers to love as "gentle in his view"—that is, appearing to be gentle—but "tyrannous and rough in proof," that is, when tested in reality. His view of love seems the most accurate based on what we see in the play, since the lovers give us words of such beauty but then die so sadly and unnecessarily.

In Romeo and Juliet, love is defined as a romantic love, a sensual passion for a particular person. This kind of love is often called eros and is often opposed to agape love. This form of love is also described as a type of insanity, a theme Shakespeare will develop more fully in the play A Midsummer Night's Dream. Romeo describes love as follows:

a fire sparkling in lovers' eyes;Being vexed a sea nourish'd with loving tears:What is it else? a madness most discreet,A choking gall, and a preserving sweet.

Love is a fire, it is physical (showing in lovers' eyes as a sparkling fire), and it is all consuming. When it is not returned it causes crying and bitter feelings ("gall"), but when love is returned by the beloved it is sweet.
Shakespeare also warns that this type of passionate, erotic love also risks running out of control and burning out. The friar, for example, tries to warn Romeo to calm down a bit about Juliet, telling him:

These violent delights have violent endsAnd in their triumph die, like fire and powderWhich, as they kiss, consume

Can a child's blood type be B+ if the mother has an O- blood type and the father has an O+ blood type?

There are two parts to how we commonly type blood: the part that deals with antigens (the part of blood type that is A, B, AB, or O) and Rh factor (the positive or negative after the letters). The antigen portion of the blood type says what antigens the blood cells have or don't have. A has A antigens, B has B antigens, AB has both A and B antigens, and O has neither antigen. For the Rh factor, it is either present (positive) or not (negative). A parent can only pass down an antigen and Rh factor they possess. Parents with AB blood can pass down either the A or the B marker.
In this specific case, neither parent has either antigen, so a child would have to have an O blood type. For the child to have a B blood type, one parent would have to have either AB or B as their blood type. The Rh factor is similarly passed down. For the child to be Rh positive, there would have to be an Rh positive parent. It would be impossible for an O- mother and an O+ father to have a child with B+ blood. The only possible blood types for these parents would be O- (only possible if the father had an Rh negative gene) or O+.
http://www.biology.arizona.edu/human_bio/problem_sets/blood_types/rh_factor.html

https://www.ncbi.nlm.nih.gov/books/NBK2269/

https://www2.palomar.edu/anthro/blood/ABO_system.htm

Idk!

What are the names of the two feuding families in "The Interlopers?"

The two feuding families involved in a fierce land dispute are the Gradwitz family and Znaeym family. Both families are feuding over a narrow, precipitous strip of woodland, which is not considered valuable or sought after property. Many years ago, Ulrich von Gradwitz's grandfather had won a lawsuit against the Znaeym family, which declared the narrow strip of woodland his legal property. However, the Znaeym family refused to acknowledge or honor the court's decision and continued to poach on the land. Both Ulrich von Gradwitz and Georg Znaeym inherited their ancestors' feud and deeply detest each other. At the beginning of the story, Ulrich von Gradwitz and his men patrol the territory in hopes of finding someone from the Znaeym family to kill. The two enemies end up discovering each other in the forest but a strong storm knocks down a massive tree, which incapacitates both men before they can harm each other.

You can find the names of the two feuding families very early in the short story “The Interlopers.”  The two families are the von Gradwitz family and the Znaeym family.
These two families have been feuding with one another for a few generations now.  The two protagonists in the story are the current heads of the families.  They are continuing a feud that began in the days of their grandfathers.  In those days, their grandfathers engaged in a lawsuit with one another regarding the control of a certain parcel of land.  Both men claimed that it was theirs, but the court awarded the land to the von Gradwitz family. Ever since, the two families have been feuding, though the feud has “come to a head” in recent times.
The answer, then, is that the two families are the von Gradwitz family and the Znaeym family.

Who is Jim, and what is Twain's intention in introducing him in a typical American home of Missouri?

The character of Jim the slave adds a certain local color to Twain's portrayal of life in the antebellum South. Slavery was an intrinsic part of Southern society and so it would've been impossible to write about this part of the world at that time without referring in some way to what was euphemistically described as "the peculiar institution."
That said, Jim's not a very important character in The Adventures of Tom Sawyer. It's only later on, in The Adventures of Huckleberry Finn, that he'll become much more substantial. But for now, he's little more than a crude stereotype of African Americans that was all too common at the time: ignorant, superstitious, and gullible. This makes him an easy mark for Tom Sawyer's mischief.

In The Adventures of Tom Sawyer, Jim is the young slave of Tom’s Aunt Polly, the woman who serves as his guardian.
Jim’s role in this novel is brief, especially compared to Twain’s subsequent novel about Huckleberry Finn. In his appearances in this novel, Jim is depicted as a gullible young man on whom Tom is always trying to play tricks. Tom finds enjoyment in torturing Jim, which shows that he is more than just mischievous: Tom is also a bit callous.
Now, the second part of your question has no definitive answer. I suppose that Twain includes Jim in the narrative because slavery was a reality in Missouri at the time in which the novel was written. Twain’s writing style is characterized by its realism and regionalism. He incorporates dialect and cultural realities in order to paint an accurate picture of St. Petersburg. Twain wouldn’t purposefully omit the reality of slavery because that would be falsifying the truth. It also allows Twain to address issues of race in small town America.

What does the strength of the magnetic field inside a circular conducting coil depend on?

A circular conducting coil is called a solenoid; the magnetic field within the center of the solenoid is approximately uniform, and by Ampere's Law, its strength B is proportional to the permeability of the surrounding material (e.g. air, vacuum, etc.) mu , the current running through the coil I, and the number of turns of the coil N divided by the length of the solenoid L:B = mu I N/L
For an infinitely long solenoid (of course only a theoretical concept, not something we could actually build), we write it instead in terms of a density of loops, n:B = mu_0 I n For real solenoids, this is only an approximation, but it's often a quite good one.Thus, the magnetic field inside the coil will be stronger if there is more current (higher I), if the material is more permeable (higher mu ), or if the coil is more tightly wound (higher n or higher N/L).
 
http://hyperphysics.phy-astr.gsu.edu/hbase/magnetic/solenoid.html

How do I use significant figures in my chemistry class?

Significant figures can be annoying, but the fundamental principle underlying significant figures is a very important one: We don't want to lie about the precision of our results.Significant figure rules are the way they are because we want to accurately represent our results as neither more nor less precise than they really are. Keep this in mind, and the rules will become more intuitive to you.The simplest way to represent significant digits is to always use scientific notation. Then the number of digits in your mantissa (the part that comes before the 10^x business) is your number of significant digits. The reason that when we multiply we take the lowest number of significant digits is that this is the overall precision of our result; if we multiply 0.2 g/mol * 0.278 mol, that 0.2 g/mol is saying that we really only know it's about 1/5 of a gram per mole; could be 0.196, could be 0.215; so it wouldn't make sense to keep all three decimals in our final answer. Instead we only keep the 1: 0.06 g, or better yet 6.0*10^-2 g. If we knew it was that precise, we should have said it was 0.200 g/mol, not 0.2 g/mol.Similarly, when we add or subtract, we only keep decimals up to the least-precise figure, because we don't want to overestimate the precision of our final answer. 1.284 g + 2.9 g = 4.2 g, not 4.184, because that 2.9 wasn't precise enough for us to really know that the result is 4.184.
http://www.dartmouth.edu/%7Egenchem/sigfigs.html

https://www.thoughtco.com/how-to-determine-significant-figures-608326

Does the prerogative of Judicial Review held by the Supreme Court compliment or detract from the ideal of representative democracy and of pluralism?

In order to answer this question, let’s first define the terms.
Representative democracy is a form of government in which the people of the nation elect representatives to make and enforce laws.
Pluralism in government is a system in which there are more than one governing body. In the United States, there are three branches of government: the legislative, executive, and judicial branches. This separation of powers is supported by a system of checks and balances, which prevents one branch from becoming too powerful.
Judicial review is a process of the court reviewing a law that has been passed. The point of judicial review is to ensure that unconstitutional laws are not passed by the legislative branch. The power of the judiciary to review and reject laws is an aspect of checks and balances.
Now, how might someone see judicial review as detracting from representative democracy and pluralism? If people elect politicians they believe will represent their interests, they may not appreciate a court review removing the laws they support. It could lead to the feeling that the representative democratic process does not actually work for the citizen. On the other hand, judicial review might be seen as complimenting pluralism in the sense that it provides a check and balance to the legislative and executive branches. Which side do you agree with more?

Critics of judicial review have regarded it as fundamentally undemocratic. They argue that judicial review effectively means rule by judges, and as these judges, the Supreme Court justices, are unelected, the enormous political power they wield represents an attack on democracy.
Contentious political issues, whether it's abortion or gun rights, should be determined, on this view, by the people's democratically-elected representatives, not unelected judges. Some scholars have even argued that the Supreme Court should be replaced by assemblies made up of ordinary citizens, who will then get to decide what is and isn't constitutional.
But one could argue against this that judicial review is inevitable in a political system, such as the American political system, that is based on a written constitution. And a constitution isn't simply a political document, it's also a legal one, and as such can only reasonably be interpreted by those with the appropriate legal training and expertise, i.e. judges.
Although it is democratically-elected politicians who pass laws, and rightly so, those laws, and the manner in which they are carried out, still need to adhere to the Constitution. And who better to decide this question than the highest court in the land, the Supreme Court of the United States?

Judicial review is the principle, first established at the federal level, that the Supreme Court can disallow laws passed by Congress as unconstitutional. Certainly, the Court's ability to rule laws passed by Congress, which is democratically elected, as unconstitutional is an important limit on the extent of democracy in this country. It is only one of many such limits embedded in the Constitution by the founding generation, who distrusted democracy. In theory, judicial review represents an important check on majority rule, which, although a fundamental principle of a democratic republic, does not necessarily guarantee that the rights of the people will be protected. In theory, if a law was passed by Congress (elected by the majority) that violated the rights of the people, the Supreme Court's power to rule it unconstitutional would be crucial to protecting the rights of the minority. In fact, the judicial review is really the only such protection if a President supports such a measure. In this way, the principle of judicial review could help to preserve the rights of the people that are fundamental to a representative democracy and to pluralism. To put it simply, the Supreme Court would have no meaningful check on Congress without the power of judicial review.
http://law2.umkc.edu/faculty/projects/ftrials/conlaw/judicialrev.htm

Judicial review is a process by which the highest court of the land can examine and ultimately strike down laws made by the legislature, if they are deemed deemed unlawful or in violation of the Constitution.
The process was established following the Marbury v. Madison case (1803), which set the precedent that laws could subsequently be deemed unconstitutional by the Supreme Court.
This on the face of it could lead to the conclusion that judicial review is actually a barrier to democracy, as it prevents democratically elected politicians from passing laws as they see fit, on behalf of their constituents.
However, it is widely accepted that liberal democracies need strong checks and balances in order to limit the power of government. In the case of judicial review, it could be said that the Supreme Court acts as a custodian of the law (and the Constitution) and therefore provides citizens with a further safeguard against a tyrannical parliament.
The idea behind having these checks and balances in place is that rather than stifle or limit the democratic power of the electorate, it actually enhances it. It prevents elected politicians from becoming too powerful or acting with impunity, which should, in theory, lead to a more enfranchised, pluralist society whose rights cannot be easily violated (as they perhaps could be in a country without this legal system).
However, one of the issues which critics have with the relationship between government and the judiciary is its politicization. A great political emphasis is usually placed on the selection of Supreme Court Justices. Even now, the president has stressed the importance of selecting the correct candidates to send to the Supreme Court.
If the justices who perform judicial review are overly political (and too close to the ruling party), the argument could be made that this negates the very purpose of such review—the assumption being that their rulings may fall along partisan lines.

What are the concepts of ordered liberty, judicial review, and Magna Carta?

Ordered liberty: This is the concept that freedom should be limited by the necessity for order. In other words, proponents of ordered liberty believe that there can be no lasting freedom without the maintenance of order. Here's Edmund Burke on the subject:

The only liberty that is valuable is a liberty connected with order; that not only exists along with order and virtue, but which cannot exist at all without them. It inheres in good and steady government, as in its substance and vital principle.

If you're interested in how this applies to the law, a good case to refer to would be Palko vs. Connecticut. The defendant, Palko, was accused of killing two Connecticut police officers. During the trial, some incirminating evidence was improperly excluded. As a result, the court found Palko guilty of second-degree murder, which held a sentence of life in prison. The state appealed and was given a new trial. This time, Palko was found guilty of first-degree murder and sentenced to death. Palko appealed, stating that the new sentence violated his Fifth Amendment right not to be prosecuted twice for the same crime. He also argued that the Fourteenth Amendment should apply to both federal and state cases. However, the court decided that the death sentence did not violate the "fundamental scheme to ordered liberty." 
Essentially, the Supreme Court decided that the Fourteenth Amendment protected only those rights necessary to ordered liberty. This brings us to the right of the Supreme Court to review any law or to make decisions based upon its interpretation of the Constitution.
Judicial review: This is the concept that the United States Supreme Court can overturn any congressional law or presidential act that it deems unconstitutional. Judicial review was essentially derived from the Marbury vs. Madison Supreme Court decision in 1803. The case centered around the judicial appointees of President John Adams.
While Congress had already approved their commissions, these justices of the peace did not receive their signed commissions before President Thomas Jefferson assumed office on March 1, 1801. In fact, Jefferson forbade Madison, his Secretary of State, to deliver those commissions. One of the judicial appointees, Marbury, filed for a legal order (or writ of mandamus) for Madison to show why he should not be appointed. In dispute was the authority of Congress to determine the fate of the judicial appointees.
The Supreme Court eventually decided against issuing the writ of mandamus for Marbury, citing the constitution's precedent for original jurisdiction. Original jurisdiction refers to the right of consuls, ambassadors, and ministers to approach the Supreme Court directly for a redress of grievances. Since Marbury was neither of these officials and he could not argue that the state was party to his case, his request for a legal order was rejected.
In any case, Marbury vs. Madison cemented the right of the Supreme Court to review all congressional actions and executive orders. The only thing it did not determine was how it would enforce its decisions if Congress or the executive branch disagreed with its findings. Today, state courts have the right to determine the constitutionality of all state laws, and the Supreme Court has the right to determine the constitutionality of all federal laws and executive actions.
Magna Carta: The Magna Carta was authored in 1215 as a protection against King John's draconian rule. It was basically a bill of rights, which later became the basis for English common law. When the colonists declared America's independence from England in 1776, they looked to the concepts of the Magna Carta as a model of liberty for the new nation. The Magna Carta encapsulated every argument against oppressive monarchical rule. Today, we can see that concept of liberty enshrined in the Fifth Amendment: "No person shall...be deprived of life, liberty, or property, without due process of law..." 
Essentially, the concepts of ordered liberty, judicial review, and the Magna Carta are connected in terms of their emphasis on the preservation of liberty.
https://legal-dictionary.thefreedictionary.com/judicial+review

College Algebra, Chapter 10, 10.3, Section 10.3, Problem 68

What is the probability that in a group of six students at least two have birthdays in the same month?

It is reasonable to assume that the six birthdays are independent and that each month has 30 days. Let $E$ be the event that two of the students have birthdays in the same month. Then we consider the complimentary event $E'$, that is, that no two students have birthdays in the same month. To find this probability, we consider the students one at a time. The probability that the first student has a birthday is 1, the probability that the second has a birthday different from the first is $\displaystyle \frac{29}{30}$, the probability that the third has a birthday different from the first two is $\displaystyle \frac{29}{30}$ and so on. Thus,

$\displaystyle P(E') = 1 \cdot \frac{29}{30} \cdot \frac{28}{30} \cdot \frac{27}{30} \cdot \frac{26}{30} \cdot \frac{25}{30} \cdot \frac{24}{30} \cdot \frac{23}{30} = 0.359686 $

So,

$P(E) = 1- P(E') = 1-0.359686 = 0.640314$

if a||b, b||c, and c is perpendicular to d, how is line a related to line d

We are given that a is parallel to b, b is parallel to c and c is perpendicular to d and we are asked to determine how line a is related to line d.
There are two possibilities:
(1) If all of the lines are in the same plane then a is perpendicular to d. It is always true that 2 lines parallel to a third line are parallel; thus since a and c are parallel to b then a is parallel to c. In a plane, parallel lines form congruent corresponding angles with a given transversal. Since c is perpendicular to d the angles formed are right angles so a forms right angles with d and is perpendicular to d.
(2) If it is possible that the lines are not all coplanar then a and d could be skew. (Skew lines are noncoplanar lines that do not intersect.) 
As asked, the answer is that the relationship cannot be determined.

a is perpendicular to d. Since a is perpendicular to b and b is perpendicular to c then a is perpendicular to c.  Since c is perpendicular to d and a is perpendicular to c then a is perpendicular to d.

Single Variable Calculus, Chapter 5, Review Exercises, Section Review Exercises, Problem 16

Find the intergral $\displaystyle \int^2_0 y^2\sqrt{1+y^3}dy$, if it exists.
If we let $u = 1 + y^3$, then $du = 3y^2 dy$, so $\displaystyle y^2 dy = \frac{du}{3}$, when $ y = 0$, $u = 1$ and when $y = 2$, $u = 9$. Therefore,
$\displaystyle = \int^2_0 y^2 \sqrt{1+y^3} dy$
Make sure tha the upper and lower limits are also in terms of $u$, so...

$
\begin{equation}
\begin{aligned}
&= \int^{1+2^3}_{1+0^3} \sqrt{u} \left( \frac{du}{3} \right)\\
\\
&= \frac{1}{3} \int^9_1 \sqrt{u} du\\
\\
&= \frac{1}{3} \left[ \frac{u^{\frac{1}{2}+1}}{\frac{1}{2}+1} \right]^9_1\\
\\
&= \frac{1}{3} \left[ \frac{u^{\frac{3}{2}}}{\frac{3}{2}}\right]^9_1\\
\\
&= \frac{1}{3} \left[ u^{\frac{3}{2}} \right]^9_1\\
\\
&= \frac{2}{9} \left[ 9^{\frac{3}{2}} - 1^{\frac{3}{2}} \right]\\
\\
&= \frac{2}{9} [ 27 - 1 ]\\
\\
&= \frac{52}{9}
\end{aligned}
\end{equation}
$

How does the play reflect the idea of destiny, and how does destiny affect Oedipus?

The play shows us the folly of trying to change our destiny. That's what Oedipus tries to do, which is why his metaphorical blindness eventually leads to his literal blindness.
It's not as if Oedipus hadn't been warned. The blind prophet Tiresias—somewhat ironically—saw more clearly what would happen if Oedipus stubbornly continued to run away from his destiny. But no; proud Oedipus was determined to flee Corinth and get to the bottom of who murdered his father, when in actual fact, he was King Laius's killer all along.
Like every mortal, Oedipus's destiny has been mapped out by the gods. To defy one's destiny, therefore, is to defy the gods. And if there's one thing we know from Greek tragedy, it's that if you defy the gods, then you'll meet a sticky end.

Oedipus Rex is a play about the impossibility of escaping one's destiny. At his birth, it is prophesied that Oedipus will murder his father and marry his mother. His parents try to prevent that from happening by having him exposed on a hillside, so that he will die as infant. However, he is saved and raised in Corinth. When he too finds out about the unsettling prophecy, he flees Corinth to avoid hurting the people he thinks are his parents.
Yet despite all these attempts to defy his destiny, Oedipus kills his father on the road to Thebes, and on his arrival in the city, he marries his mother.
Pride allows Oedipus to believe he has beaten his fate. When he finds out that the people who raised him in Corinth are not his real parents and that he has indeed killed his father and married his mother, the impact on him is so devastating that he puts his eyes out. However, this blindness leads him to humility and insight.
In the end, as the chorus states, death is what releases us from our earthly destinies:

Now as we keep our watch and wait the final day, count no man happy till he dies, free of pain at last.

Destiny is central to the plot of Oedipus Rex, and one of the themes explored in the play is how much of our destiny we can take into our hands.
When Oedipus learned that he was prophesied to kill his father and marry his mother, he fled his home and made a new life in a new city because he believed that he had the power to change his destiny. However, Oedipus later learns that the father and mother he left were not his birth parents, but rather people who had adopted him after he was abandoned. In trying to flee his destiny, he ended up fulfilling it by killing his real father and marrying his real mother.
Oedipus was abandoned as a baby because his birth parents had also heard the prophecy and thought that they, too, could change their destinies. Ultimately, neither Oedipus nor his birth parents were able to change their destinies because they were always destined to try to change the prophecy and therefore end up fulfilling it.

Single Variable Calculus, Chapter 8, 8.2, Section 8.2, Problem 46

Determine the integral $\displaystyle \int \frac{\cos x + \sin x }{\sin 2 x} dx$

$
\begin{equation}
\begin{aligned}
\int \frac{\cos x + \sin x }{\sin 2 x} dx &= \int \frac{\cos x + \sin x }{2 \sin x \cos x} dx \qquad \text{Apply Trigonometric Identity } \sin 2x = 2 \sin x \cos x\\
\\
\int \frac{\cos x + \sin x }{\sin 2 x} dx &= \int\left( \frac{\cancel{\cos x}}{2 \sin x \cancel{\cos x}} + \frac{\cancel{\sin x}}{2 \cancel{\sin x} \cos x} \right)dx\\
\\
\int \frac{\cos x + \sin x }{\sin 2 x} dx &= \int \left( \frac{1}{2\sin x} + \frac{1}{2\cos x} \right) dx\\
\\
\int \frac{\cos x + \sin x }{\sin 2 x} dx &= \int \left( \frac{1}{2} \csc x + \frac{1}{2} \sec x \right) dx\\
\\
\int \frac{\cos x + \sin x }{\sin 2 x} dx &= \frac{1}{2} \left[ -\ln (\csc x + \cot x) + \ln ( \sec x + \tan x) \right] + c \qquad \text{ or } \qquad \int \frac{\cos x + \sin x }{\sin 2 x} dx = \frac{1}{2} \left[ \ln(\sec x + \tan x) - \ln (\csc x + \cot x) \right] + c
\end{aligned}
\end{equation}
$

Could someone pick out 25 important quotations from the play and write a 2–3 sentence analysis for each? Thank you.

Don Juan: Skip the extraordinary idea, it’s well known to me, as to who in the space of a year, could do more harm with more good luck, Juan Tenorio or Luis Mejia.This quote explains the bet that Don Luis and Don Juan made a year ago. Their intention was to do harm—not just to have fun or seduce women. The bet required that they both seduce women and murder men. This villainous bet is the action that causes Don Juan's father and future father-in-law to see that he is not a good man.
Don Gonzalo: I should like to see without them seeing me or being recognized.
Don Gonzalo is the father of Don Juan's intended bride. He decides that he wants to know what kind of man Don Juan is and sneaks into the place where the two Dons will discuss their bet after a year. He listens and is horrified to see what kind of man Don Juan really is.
Don Juan: Bah. I’ll satisfy you doubly, since I tell you that, just for fun, I’ll add a friend’s lady to the novice nun whom he’s about to marry.
Even after he has won the bet, Don Juan decides he does not want to have an incomplete list of the types of women he has slept with. Don Luis tells him he needs a novice from a convent. He adds in a friend's lady, which leads to him seducing Don Luis's fiancee.
Don Gonzalo: Don’t think now of Dona Ines. For rather than consent that she marry you, by God, I swear it’s true, I’d make sure to the grave she went.
Don Gonzalo foreshadows the death of Dona Ines when he says this. If he agreed to let her marry Don Juan, everyone might have lived. However, his refusal results in his death, Don Juan's exile, and Ines's death as well.
Don Luis: I don’t know what strange foreboding, what disastrous change my afflicted soul is fearing. By God, I never really thought I would love Ana so or feel for anyone though what I feel for her.
Don Luis realizes too late that he loves his fiancee. If he had realized it before, he might not have made the bet with Don Juan.
Dona Ana: Oh! Sleep in peace, Don Luis, his audacity and prudence will never succeed with me, for I’ve settled on you, you see, the glory of my existence.
Dona Ana reaffirms that she loves Luis and has no intention of sleeping with Don Juan. Of course, she cannot know then that he is willing to trick her to win the bet.
Brigida: I spoke to her of love, of the world of pleasures, the court, how gallant you are, how prodigious a talent you possess with women. I told her you were the man chosen for her by her father, and I have painted you rather as dying for her love.
Don Juan enlists the help of Brigida, Ines's servant, to help him appear in a good light. She primes Ines to fall in love with Don Juan. Ines has spent her entire life in a convent and is completely unaware of her potential fiance's real character.
Ciutti: It’s an undertaking fit only for such a man. But, devil take it, it’s as if fortune is always with him, chained at his feet while chance sleeps in submission.
Don Juan's servant Ciutti sees him as he is for the first time as they work out the plan for Don Juan to sleep with Ana and kidnap Ines. He explains Don Juan's character—he is lucky enough to get away with things that other people would be in trouble for.
Ines: Let’s leave here . . . I can go to my father’s house.
Ines showcases her virtue when, waking in the home of the man she loves, she immediately wants to go to her father's house. Of course, her servant convinces her that she cannot go.
Ines: I have never left the cloister, but I’m noble, Brigida: I have honor and I know, by every creed, that Don Juan’s house for me is no good place to be.
Ines is innocent, but she is also self-aware. She has the innate feeling that the house she is in is not right for her. It foreshadows what happens later when her father comes to take her back.
Don Juan: Mejia, please tell me how I can satisfy your honor. I won the wager fairly, but if it has pained you so, if there’s some answer you know, I’ll apply the remedy.
Don Juan apologizes and tries to make amends for the first time. He recognizes that he hurt his friend—a person he might actually care about.
Don Luis: You’re not the winner, Don Juan, since you acted as me in the game.
Don Juan pretended to be Luis to sleep with Ana. Luis makes the point that he had to be himself to win and, thus, lost the bet.
Don Juan: Comendador, I idolize Dona Ines, persuaded that Heaven intended to grant her to me, to lead my steps along the true path.
Don Juan still wants to change. He offers to live with Gonzalo and do everything he says to prove that he is a good man. He also offers to let Gonzalo monitor his estate and fortune. Once Gonzalo is convinced, he will marry Ines.
Don Gonzalo: Never. You her husband? Never! I’ll kill her first. Hand her over to me immediately or, unable to control myself, I’ll strike you dead in that vile pose.
Gonzalo refuses again and once again foreshadows Ines's death. He says he will kill her before allowing her to marry Don Juan, and the events that follow to lead to her death.
Don Juan: Consider well, Don Gonzalo, that you, perhaps, will make me lose my own salvation.
Don Juan sees Ines as his salvation. He loves her and believes that love can change him into a man worthy of God's grace.
Don Juan: And you, man without grace, who call me a vile thief, too, let this speak to show it’s true, I’ll destroy you face to face.
Don Juan kills both Luis and Gonzalo when the men refuse to forgive him. He shoots Gonzalo and stabs Luis rather than accepting the consequences of his prior actions.
Todos: Justice for Dona Ines.Dona Ines: But not against Don Juan.
Even after he kills her father, Ines does not want Don Juan hurt. This foreshadows her eventual bargain to save his soul.
Don Juan: I should explain, for years now I’ve been gone from Spain, and it shocked me, as I passed, as I reached these gates today to find this distinct, strange, entirely different change from when I went away.
When Don Juan returns to his family estate, he finds a place where all his victims were buried. He is shocked to see that his father did such a thing with his inheritance.
Sculptor: He left his entire property to the one who would fashion a wonderful pantheon to astound posterity. He made one condition that they should bury here those who died, in fear, at the cruel hand of his son.
The sculptor explains to Don Juan what happened to his estate. It is another reminder to Don Juan of the awful things he did, and the way it affected other people.
Don Juan: Don Juan’s only yearning was for Joy with Dona Ines, now, seeking her loveliness wretched Don Juan returns: see with what pain he burns, finding her tomb, his distress.
Even after five years, Don Juan still yearns for Ines. This shows that the love he felt for her was not something he faked to seduce her and trick her father.
Ines: I offered my soul to God, the fee for your impure soul, and yes, God, on seeing the tenderness with which I loved a man, said, “Wait then for Don Juan in your grave’s loneliness. And since you want to be loyal to the love of a son of Satan, you’ll be saved with Don Juan or be lost with him.”
Ines bargained with God so that Don Juan could be saved. Either he goes to Heaven with her or they will both be damned to Hell. Even though she appears to him, he does not believe that she is real at first and puts himself in danger of damnation.
Don Juan: But her statue was here to see. Yes, I saw it and touched it: even gave a trifling fee to the sculptor who carved it. Now there’s only the pedestal and the urn from her funeral.
Don Juan tries to convince himself that what he saw was not real. He does not believe that her spirit appeared, but it still haunts him when he goes to spend time with his friends. Even the statue disappearing does not convince him the apparition was real.
Don Gonzalo: God, in his holy mercy, still grants you time, I say Don Juan, till the new day to set your conscience free.
Don Gonzalo also appears to Don Juan. He tells him that he has only the night to unburden himself to God and ask for forgiveness. Even when he walks through a wall, Don Juan has a hard time accepting that the situation is real.
Don Juan: Holy God, I believe in You: may it be though my sins are mighty, I admit, that your mercy indeed be infinite . . . Lord, have mercy on me.
Don Juan is dying and is being dragged to Hell, and he recognizes that he can ask for forgiveness. Even with a minute of life left, he can ask to be forgiven and find salvation.
Dona Ines: I gave my soul for you, and God grants that it is true your despaired-of salvation. This is a mystery of creation no mortal may comprehend, and only in that life without end, the just shall understand that love has saved Don Juan before he could descend.
Don Juan goes with Dona Ines to Heaven just before he would have been damned. Her faith in him was rewarded with the saving of his soul and the two of them being able to spend eternity in Heaven together.

Why do Buttercup and Westley pledge to outlive each other?

This particular line of text comes in the final moments of the story. Buttercup and Westley are making flirtatious little jokes with each other and making light of the fact that Westley has already died once for Buttercup and her love. At one point Buttercup says that she and Westley are "doomed" to be together until one of them dies. Westley isn't happy with that thought, because it means their love will end when one of them dies. He wants their love to live on forever, so he jokes that their love will never end if neither of them dies. Buttercup isn't sure that is possible, and Westley confidently states that they will never die if they promise to outlive each other. If each person makes the promise to outlive the other person, that means neither person can die; therefore, they are just as eternal as their love.

"To be together. Until one of us dies."
"I've done that already, and I haven't the slightest intention of ever doing it again," Westley said.
Buttercup looked at him. "Don't we sort of have to sometime?"
"Not if we promise to outlive each other, and I make that promise now." Buttercup looked at him.
"Oh my Westley, so do I."

Westley and Buttercup promise to outlive one another so they'll never, ever have to be apart. Their love is deep. Westley's devoted to Buttercup from the very start, when he works as a farmhand for her parents. His response to everything Buttercup asks of him, or even just says to him, is "As you wish"—and he means it. He'll do anything for her. He'll chase her up the Cliffs of Insanity. He'll die at the hands of Prince Humperdinck and get resurrected by Miracle Max.
Buttercup doesn't fall head over heels for Westley right away. At first, she's bossy and dismissive. She assumes Westley isn't very bright because he doesn't say much, and she doesn't appreciate him. Once Buttercup has some competition, however, in the form of the Countess, Buttercup sees Westley with fresh eyes and recognizes that he's smart, attractive, and utterly devoted to her.

In "The Last Ride Together" by Robert Browning, explain the stanza, "Hush! if you saw some western cloud. . . moment on my breast."

The complete stanza reads as follows:

Hush! if you saw some western cloudAll billowy-bosom'd, over-bow'dBy many benedictions—sun'sAnd moon's and evening-star's at once—And so, you, looking and loving best,Conscious grew, your passion drewCloud, sunset, moonrise, star-shine too,Down on you, near and yet more near,Till flesh must fade for heaven was here!—Thus leant she and linger'd—joy and fear!Thus lay she a moment on my breast.

This stanza probably most profoundly expresses the speaker's overwhelming bliss when the mistress, who has rejected him, takes a moment to rest her head on his chest. The feeling of joy he experiences at this point is so overwhelming that he does not immediately share it with the reader. Instead, at the beginning of the stanza, he asks for silence and then leads the reader to the climax of what he perceives as his greatest pleasure.
The speaker gradually builds up to the climax by addressing the reader directly. By using images from nature, more specifically, heavenly visions of clouds that are all in full swell, he draws the reader in by referencing the reader's own experience and joy at witnessing such a heavenly spectacle. He refers to this wondrous scene as being laden with the most beautiful of nature's wonders: suns, moons, and stars. The reader is reminded that seeing these all at once is truly a gift.
The reader is involved further when the speaker assumes that the reader would look and love this sight the most and that, while being overwhelmed, would also have felt his passion drawing these heavenly bodies ever closer to him until the physical reality disappeared to become a wholly spiritual experience. The experience became so overwhelming that it could not be experienced in a physical sense; the flesh had to fade and was replaced by heavenly ecstasy because the experience was ethereal and spiritually uplifting.The exclamation mark at the end of the line emphasizes the speaker's rapture.
The last two lines of the stanza explain the reason for the speaker's overwhelming pleasure. His mistress had, just as these images did, leant over him and stayed a moment. The break in the line indicates how much he was overcome by her simple act, to the point that he experienced both joy and fear simultaneously. He feels joy for his immediate pleasure and fear because he knows the moment would not last or he might not have known how he would respond.
The repetition of "thus" in the final line of the stanza emphasizes how important it was for the speaker that his mistress took time to lay, probably her cheek, on his breast.
The importance of this moment should be understood within the context of the entire poem. It is a dramatic monologue in which the speaker remembers the rejection of a lost love. The speaker recalls their last ride together and the memories he has of that time. Throughout his monologue, the speaker comments about success and failure and the reward for hard work and commitment, which, more often than not, amounts to very little or even nothing.
The speaker does not feel like a failure, though. Having spent time with his mistress more than makes up for everything, even though she rejected him. It is enough for him that she actually went on this one last ride with him, as it will be a memory which he will treasure for all eternity.

In retrospect, where are the hints readers have about the plot?

If by plot you mean where the story's action ends up—with the discovery of Homer Barron's skeleton—there are a few key clues that lead up to that surprise ending.
The three clues are the smell coming from Miss Emily's house, the scene in which Miss Emily buys poison, and the mysterious disappearance of Homer Barron. In fact, after the reader learns that Homer's skeleton has been kept in Miss Emily's house for years, it's hard to imagine how we didn't know that's where the story is headed all along. However, the non-chronological order of events and the lack of information on the narrator's part contribute to the shock effect of the story's conclusion.
The smell is mentioned in Part II of the story, and since it's out of context, readers might not associate it with any wrongdoing on Emily's part. People think it's "just a snake or a rat" killed by her servant. The townsfolk feel like they cannot mention the smell to Emily due to her lofty family history, so people try to deal with it on their own. This scene occurs before Homer is even introduced, so we would not connect him with the smell at this point.
The next hint, in Part III, is a bit more obvious, which is when Emily buys poison from the druggist. The scene is clearly suspicious, as Emily does not want to tell him why she's buying the poison. She simply agrees with his suggestion. The druggist says that arsenic is used to kill rats, so Miss Emily says she is buying it "For rats." We get the feeling, though, that it's not why she's getting this poison.
In Part IV, the town thinks Emily will kill herself with the poison, but then more information is given about the history of her relationship with Homer. The townspeople start to think she and Homer will marry, but then again, they are "not surprised when Homer Barron—the streets had been finished some time since—was gone." This is mainly because his job in town is finished, and they think maybe Emily has married him and will go move with him up North. This sudden disappearance, though, is definitely suspicious. Once we learn that Homer's body has been in Emily's home all this time, in a make-shift gothic bridal chamber, and that she has been sleeping next to him recently, all of the clues make sense, and we can see how Faulkner foreshadowed this ending.

Analyze "The Barred Owl" for its meaning and form. Who is speaking? How is that sound and imagery reinforced? Determine its tone with examples.

The speaker in this poem seems to be the parent of "the wakened child" who has been alarmed at night by the "boom" of the owl's voice in her room. The speaker explains, in a patient, advisory tone, how he was able to send the child back to sleep by interpreting for her the sound the owl makes as an "odd question": "Who cooks for you?" The question is repeated deliberately in order to encourage the listener to transpose these words onto the sound an owl makes, more typically transcribed as "too-whit-to-whoo," or similar onomatopoeia, and repeated twice, as an owl might. A sound-picture is deftly created, in which the owl is nothing to be afraid of. We know, because the little girl can be encouraged back to sleep in this fashion, that this sound image served to turn the owl outside the window from something to be feared into a non-threat.
The first stanza of the poem is gentle in tone, as the speaker does, indeed, use words to "domesticate a fear," the use of distinct and familiar words turning the "boom" of the owl's unknown voice into something explicable. In the second stanza, however, the child safely put to bed, the reader feels a prickle of that terror the child experienced earlier. While words can indeed minimize fear, they can also serve "to make our terrors bravely clear." The child, asleep now, need not contemplate, as we must the image of "some small thing in a claw / Borne up to some dark branch and eaten raw." Here, the poet vividly depicts, through the juxtaposition of this image with the harmless idea of the owl asking "Who cooks for you?", the difference words can make. For us, the owl becomes a "stealthy," unknown creature of the night once more, killing and eating in the dark, a "cook" for nobody but itself.

What criteria are involved in judging organizational strengths and weaknesses? What is the internal audit approach and why is it important?

The expert consensus is that the three criteria for judging organizational strengths and weaknesses are (1) past performance of the company, (2) comparison of actual performance against specific goals and targets, (3) comparison of company performance against competitor performance.
Past performance: Past performance analysis shows important information about capabilities and resource use, but it does not show if past performance was executed at the expected level; it measures use but it does not measure under-performance. Measurable statistics in the areas of financial ratios, employee performance trends, production efficiency, and quality control data quantify organizational performance strengths and weaknesses.
Comparison of actual performance with specific goals and targets: This criterion is used to measure performance and under-performance (a category the criterion of past performance does not measure). The company's organizational objectives, vision statement, and mission statement play key roles in measuring actual performance against desired performance in relation to goals and targets. Assessment is made of every area of performance measuring (a) performance compared to organizational goals stating desired outcomes and outputs at all levels and (b) how resources and capabilities are used in relation to fulfilling mission and vision statements, including such areas as resources in customer service.
Comparison of company performance against competitor performance: This criterion is used to measure company performance, or under-performance, in the marketplace they compete in. Assessing what competitors are doing can lead to identifying which strengths and weaknesses can be used to develop the company's own long-term competitive advantage. The tools for gaining information for a comparison with competitors include surveys, subjective opinions of company leaders and consultants, annual reports, professional meetings, and association newsletters. 

How many photons are produced in a laser pulse of 0.188 J at 571 nm?

A photon of frequency f has the energy E = hf, where h is the Planck's constant:
h = 6.63*10^(-34) J*s .
The frequency is related to the wavelength as f = c/lambda , where c is the speed of light: c = 3*10^8 m/s^2 . So the photons in the laser pulse with the wavelength of 571 nm have frequency
f = c/lambda = (3*10^8)/(571*10^(-9)) = 5.25*10^14 s^(-1) .
Each of these photons then have the energy of E = hf = 6.63*10^(-34)*5.25*10^14 = 34.8*10^(-20) J = 3.48*10^(-19) J .
So, if the total energy of the pulse is 0.188 J, this pulse contains the number of photons equal to the total energy divided by the energy of a single photon:
0.188/(3.48*10^(-19)) = 0.054*10^19 = 54*10^16 photons.
The laser pulse of the given energy and wavelength contains
540,000,000,000,000,000 photons.

(du)/(dv) = uvsin(v^2) , u(0) = 1 Find the particular solution that satisfies the initial condition

An ordinary differential equation (ODE) has differential equation for a function with single variable. A first order ODE follows  .
In the given problem: (du)/(dv)=uvsin(v^2) ,  we may apply variable separable differential equation in a form of   .
Divide both sides by "u" and cross-multiply dv  to set it up as:
(du)/u=vsin(v^2) dv.
Apply direct integration: int(du)/u=int vsin(v^2) dv.
For the left sign, we follow the basic integration formula for logarithm:
int (du)/u = ln|u|
For the right side, we follow the basic integration formula for sine function:
Let: w=v^2 then dw = 2v*dv or (dw)/2 =v dv .
The integral becomes:
intvsin(v^2) dv= intsin(v^2) * vdv
                       =intsin(w) *(dw)/2
                      = (1/2) int sin(w) dw
                      = (1/2)*(-cos(w))+C
                      =-cos(w)/2+C
Plug-in w=v^2 on -cos(w)/2+C , we get:
intvsin(v^2) dv=-cos(v^2)/2+C
Combing the results, we get the general solution of differential equation as:
ln|u| = -cos(v^2)/2+C
 
To solve for the arbitrary constant (C) , apply the initial condition u(0)=1  onln|u| = -cos(v^2)/2+C :
ln|1| = -cos(0^2)/2+C
0 = -1/2+C
C = 0+1/2
C=1/2
Plug-in  C= 1/2 in ln|u| = -cos(v^2)/2+C , we get 
ln|u| = -cos(v^2)/2+1/2
 u = e^(-cos(v^2)/2+1/2)

Calculus of a Single Variable, Chapter 7, 7.6, Section 7.6, Problem 18

For an irregularly shaped planar lamina of uniform density (rho) , bounded by graphs y=f(x),y=g(x) and a<=x<=b , the mass (m) of this region is given by:
m=rhoint_a^b[f(x)-g(x)]dx
m=rhoA , where A is the area of the region,
The moments about the x- and y-axes are given by:
M_x=rhoint_a^b 1/2([f(x)]^2-[g(x)]^2)dx
M_y=rhoint_a^bx(f(x)-g(x))dx
The center of mass (barx,bary) is given by:
barx=M_y/m
bary=M_x/m
We are given:y=sqrt(x),y=1/2x
Please refer to the attached image. Plot of y=sqrt(x) is red in color and plot of y=1/2x is blue in color. The curves intersect at (0,0) and (4,2) .
First let's find the area of the region,
A=int_0^4(sqrt(x)-1/2x)dx
A=int_0^4(x^(1/2)-1/2x)dx
A=[x^(1/2+1)/(1/2+1)-1/2(x^2)/2]_0^4
A=[2/3x^(3/2)-x^2/4]_0^4
A=[2/3(4)^(3/2)-4^2/4]
A=[2/3(2^2)^(3/2)-4]
A=[2/3(2)^3-4]
A=[16/3-4]
A=4/3
Now let's evaluate moments about the x- and y-axes,
M_x=rhoint_0^4 1/2((sqrt(x))^2-(1/2x)^2)dx
M_x=rhoint_0^4 1/2(x-x^2/4)dx
Take the constant out,
M_x=rho/2int_0^4(x-x^2/4)dx
M_x=rho/2[x^2/2-1/4(x^3/3)]_0^4
M_x=rho/2[x^2/2-x^3/12]_0^4
M_x=rho/2[4^2/2-4^3/12]
M_x=rho/2[16/2-64/12]
M_x=rho/2[8-16/3]
M_x=rho/2(8/3)
M_x=4/3rho
M_y=rhoint_0^4x(sqrt(x)-1/2x)dx
M_y=rhoint_0^4(xsqrt(x)-1/2x^2)dx
M_y=rhoint_0^4(x^(3/2)-1/2x^2)dx
M_y=rho[x^(3/2+1)/(3/2+1)-1/2(x^3/3)]_0^4
M_y=rho[2/5x^(5/2)-x^3/6]_0^4
M_y=rho[2/5(4)^(5/2)-4^3/6]
M_y=rho[2/5(2^2)^(5/2)-64/6]
M_y=rho[2/5(2)^5-32/3]
M_y=rho[64/5-32/3]
M_y=rho[(192-160)/15]
M_y=32/15rho
The center of mass can be evaluated by plugging in the moments and area as below:
barx=M_y/m=M_y/(rhoA)
barx=(32/15rho)/(rho4/3)
barx=(32/15)(3/4)
barx=8/5
bary=M_x/m=M_x/(rhoA)
bary=(4/3rho)/(rho4/3)
bary=1
The coordinates of the center of mass are (8/5,1)

Carver is concerned with the ways in which human beings communicate or fail to communicate with each other and how that affects people's lives. Dicuss how this concern is depicted in "A Small, Good Thing."

Raymond Carver's 1983 short story is freighted with pathos, and both communication and the lack of communication affect characters in "A Small, Good Thing."
The lack of communication between Ann and the baker opens the story.  She finds him cold and unpleasant and uninterested in the details of her son Scotty's birthday.  In completing the cake order, "There were no pleasantries between them, just the minimum exchange of words, the necessary information."  
When Scotty is hit by the car, "the man in the driver's seat looked back over his shoulder. He (the boy) looked dazed, but okay. The driver put the car into gear and drove away."  Because the driver didn't speak to Scotty--or police or EMTs--and instead left the scene, it is arguable that his silence cost Scotty his life. After Scotty's death, the doctors tell his parents that "maybe if it could have been detected somehow and surgery undertaken immediately, they could have saved him"--or perhaps not.  But because there was no communication from the driver, it is impossible to know if the tragic outcome could have been different.
The doctor's lack of meaningful communication with Howard and Ann about Scotty's condition early in his treatment left them with incomplete information and meaningless platitudes like "just as soon as he wakes up he'll be over the hill." The doctor is slow to communicate his concerns to his colleagues and perhaps waits too long to consult with a neurologist.  
Howard inadvertently worsens Ann's negative feelings toward the baker and deepens her anguish when he fails to mention that in the first phone call, the baker did say "There's a cake here that wasn't picked up."  Because Howard doesn't communicate this detail to Ann, her fury at the baker reaches a point where she verbally attacks him. The moment nearly turns physical when she and Howard descend on the bakery to confront the man they believe has been cruelly tormenting them.
Ultimately, when the baker, Ann, and Howard are able to speak at length and the gaps in their communication are filled, their shared humanity resolves the story.  The baker expresses both empathy ("he told them what it was like to be childless all these years") and sympathy and offers comfort with cinnamon rolls, bread, and coffee.  Carver's message about the beneficial effect communication can have on interpersonal conflict is found in the story's final line: "They talked on into the early morning, the high, pale cast of light in the windows, and they did not think of leaving."

Do you think the warden feels that Jimmy is virtuous?

In answer to your question, I don't think that the warden believes that Jimmy is virtuous at the beginning of the story, but he does believe that Jimmy has the capacity to become virtuous. At this point, Jimmy is still a career criminal, and the warden is certainly aware of this (consider Jimmy's response to the warden—in which he denies any criminal wrongdoing—and the warden's response to this denial). Hence the advice he gives Jimmy at the start of the story: he advises Jimmy to give up his life of crime and to make something of his life.
O. Henry's story proceeds to follow Jimmy as he makes an honest life for himself and then, in the story's conclusion, actively uses his criminal skills in the service of something good (the rescue of a child trapped in a safe).

The chief prison officer or warden if you like, does not think that Jimmy is virtuous. However, he feels that Jimmy “is not a bad man at heart”. A virtuous person is one with high moral standards. Jimmy does not have high moral standards because he is a master safecracker and has even been imprisoned for this. However, the chief prison officer feels that Jimmy is a good man, who is making the wrong kind of choices in life. Perhaps, he cracks safes because he has no other means of income. This is why the warden advises him to make good use of his time out of prison to make a man of himself, to change his criminal ways. Note that Jimmy responds to the warden’s advice by insisting that he has never cracked a safe in the whole of his life. He feigns complete ignorance of the wrongs he has committed in his life. In spite of this denial, the warden still tells him to think about the advice he has given him.

What is an example of verbal irony in "Raymond's Run"?

Verbal irony is when someone says the opposite of what they feel or actually mean. When Squeaky comes across some girls in the neighborhood, including Gretchen, they get into a battle and insult each other. The girls tell Squeaky that she is not going to win the upcoming May Day races, and they also try to pick on her brother, Raymond. She responds by telling them that they have to talk to her, not Raymond. When she walks away, she thinks, "I continue with my breathing exercises, strolling down Broadway toward the ice man on 145th with not a care in the world cause I am Miss Quicksilver herself." Squeaky says that she has no cares and that she is without trouble, but that is not actually true. Her mind is on the upcoming race, including her rivalry with Gretchen. She also has to care for her brother, Raymond, who has intellectual disabilities and who causes her a great deal of concern. Therefore, saying that she has no cares is an example of verbal irony, as it is contrary to the truth of how she really feels.

Verbal irony happens when a speaking character says something different than what the literal or usual meaning is. Verbal irony is intentionally done by the speaker. Three common types of verbal irony are sarcasm, overstatement, and understatement.  
A good example from "Raymond's Run" is when Squeaky comes across Gretchen, Rosie, and Mary Louise. Squeaky and Raymond are on their way to the races when they come across the three girls. A little bit of smack talk ensues. One of the girls then decides to start talking to Raymond. Squeaky is absolutely not having any of that. She's there to protect her brother. She tells the girls that if they have anything to say to Raymond, they can say it to her. Rosie responds by asking if Squeaky is Raymond's mother, and Squeaky says yes. Squeaky then says that she'll be all of their mothers if they keep talking.  

“What are you, his mother?” sasses Rosie.
“That’s right, Fatso. And the next word out of anybody and I’ll be their mother too.”  

Obviously, Squeaky knows she is not Raymond's mother, and everybody knows she can't become a mom to the rest of the girls. It's verbal irony because what Squeaky says is not meant to be taken literally. What Squeaky means is that she is protective of Raymond like a mom. She also means that she can and will enforce punishments on the other girls like a mom would.

What are the names of all the animals in The Swiss Family Robinson?

In The Swiss Family Robinson, a Swiss family are shipwrecked on an island in the East Indies with nothing but themselves and their ship's and the island's animals to keep them company.
Most of the animals they meet on the island are too wild and dangerous to spend time with, but some of the animals they manage to domesticate and even name.
These include an onager they name Lightfoot, a donkey they name Grizzle, a jackal they name Fangs, a buffalo they name Storm, an ostrich they name Hurricane, a monkey they name Knips, a bullfrog they name Beauty, a bullfrog they name Grace, and a bull-calf they name Grumble.
The animals they take with from the ship include livestock such as pigs, geese, cows, and sheep.
They try to leave the two dogs, Juno and Turk, behind on the ship, but as the author writes,

when they saw us apparently deserting them, they set up a piteous howl, and sprang into the sea.

Eventually Juno and Turk have a litter of puppies, of which only two survive. The family name them Bruno and Fawn.

There was a large array of animals that were presented. Some of the animals included the great white shark, sea turtle, nile monitor, galapagos tortoise, green anaconda, green iguana, scarlet macaw, king vulture, keel-billed toucan, european herring gull, amazon parrot, hyacinth macaw, black crowned crane, ostrich, sulphur-crested cockatoo, japanese crane, knobbed hornbill, lesser flamingo, cheetah, tiger, tufted capuchin, asian elephant, plains zebra and spotted hyena. 
Knips was the orphaned monkey that was the taste tester to make sure that the food was safe to eat for the family. 
The young buffalo was also orphaned and was tamed then trained to protect.
A large whale washed upon shore was used for its blubber for making oil.
A giant tortoise was captured, ate and the shell was used as a wash bin for cleaning and cooking.
Another important animal was the ostrich. The ostriches were trained to allow the boys to ride them as if they were horses for travel purposes. 

What happened to momma's seed planted in the yard?

Isabel plants the seeds that were in her mother's jar. Isabel does this at the very end of chapter 13. She does not know what the seeds will grow into; therefore, she isn't overly excited at doing it; however, she does find the action of planting those seeds a bit cathartic.

I did not know what they would grow into, but planting them deep in the cool dirt was a comfort.

Readers hear about those seeds a few chapters later. They have sprouted, but the plant is still too small for Isabel to know what it is. The next time we hear about the seeds and growing plants is in chapter 33. This is a big let down. Isabel had forgotten to care for the plants, and they died in an overnight freeze. Isabel does her best to gather some seeds that are in the flowers of the dead plants, and she wraps those seeds up in a cloth.

Why does the speaker call the jam stain strange in the poem "Dear Mum"?

In the poem "Dear Mum" by English poet and author Brian Patten, the speaker is an absent boy who has written a note to his mother. Composed in comic verse, it is a catalog of all the household mishaps he is responsible for in her absence, but he does not take responsibility for the destruction. Instead, he professes ignorance as to how a cup was broken, a Ming vase cracked, a sink flooded, and the carpet tracked. He also denies knowledge of how the cat ended up in the washing machine or how his sister's rabbit ended up in the garbage disposal. The "strange jam-stain" is "about the size of a boy's hand" and obviously his own, though by calling it "strange" he distances himself from its origin. He ends by telling her that he thinks the house is haunted, so he is taking refuge at his grandmother's house.

Calculus of a Single Variable, Chapter 3, 3.2, Section 3.2, Problem 7

You need to find the two x intercepts of the function, hence, you need to solve for x the equation f(x) = 0, such that:
f(x) = x*sqrt(x+4) = 0
x*sqrt(x+4) = 0 x = 0
sqrt(x+4) = 0 => x + 4 = 0^2 => x + 4 = 0 => x = -4
You need to evaluate the derivative of the function, using the product rule:
f'(x) = x'*sqrt(x+4) + x*(sqrt(x+4))' => f'(x) = sqrt(x+4) + x/(2sqrt(x+4))
You need to solve for x the equation f'(x) = 0:
sqrt(x+4) + x/(2sqrt(x+4)) = 0 => (2(x+4) + x)/(2sqrt(x+4)) = 0
2x + 8 + x = 0 => 3x = -8 => x = -8/3 = -2.(6)
Notice that -2.(6) is found between x intercepts -4 and 0.
Hence, the derivative of the function cancels at x = -2.(6), which is found between the x intercepts -4 and 0.

What difficulties do Lennie and George face throughout their adventures?

One is made aware from the outset not only of the contrast in size between George and Lennie but also of their obvious difference in intellectual capacity. Both these disparities are responsible for some of the difficulties they encounter throughout the novel. Since Lennie is so large and very childlike, he does not realize his own strength. In addition, his mental ability affects his attitude and approach to things. Lennie, like a small child, loves stroking soft things. He seems to have developed an obsession to explore, in a tactile sense, the texture of soft materials and objects, be they alive or dead. He derives tremendous satisfaction from fondling velvety, furry, plush objects. It this fixation that often gets them in trouble. 
Lennie's fetish creates friction in his relationship with George and leads to conflict between them. In chapter one, for example, George discovers that Lennie had been fondling a dead mouse. He is upset about it and scolds him.

"Give it here!" Lennie's closed hand slowly obeyed. George took the mouse and threw it across the pool to the other side, among the brush. "What you want of a dead mouse, anyways?" "I could pet it with my thumb while we walked along," said Lennie. "Well, you ain't petting no mice while you walk with me."

Another difficulty is the fact that Lennie hardly ever remembers what George tells him. George is upset that Lennie can't remember where they are going.

"Where we goin', George?" The little man jerked down the brim of his hat and scowled over at Lennie. "So you forgot that awready, did you? I gotta tell you again, do I? Jesus Christ, you're a crazy bastard!"

Since Lennie has such a poor memory, it complicates their situation; George has to continuously remind him of what to do and what not to do so that they can stay out of trouble. It is tragic and tough that at the end of the novel Lennie forgets one particular incident when they were in desperate trouble. When they were working a ranch in Weed, Lennie fondled a young woman's dress, and when she became upset and started screaming, he held on tighter. She became desperate and wrenched away from him, tearing her dress in the process. She claimed that Lennie had abused her and George and Lennie had to hide in a ditch for hours to escape their persecutors. In the end, Lennie fondles Curley's wife's hair, and when she tries to scream, he unfortunately breaks her neck.
A minor difficulty that the two experience at the beginning of the novel is when the uncaring bus driver drops them quite a distance from the ranch that they are supposed to work at. As George says:

"We could just as well of rode clear to the ranch if that bastard bus driver knew what he was talkin' about. 'Jes' a little stretch down the highway,' he says. 'Jes' a little stretch.' God damn near four miles, that's what it was! Didn't wanta stop at the ranch gate, that's what. Too God damn lazy to pull up.

This gets them into trouble with the ranch owner. They are, however, fortunate that he believes their story, although he is still suspicious, saying,

"All right. But don't try to put nothing over, 'cause you can't get away with nothing. I seen wise guys before..."    

Another difficulty the two men encounter is Lennie's interest in Curley's wife. He finds her "purty" when he sees her the first time. George has heard from Candy that she tends to flirt with all the men on the ranch, and he immediately assumes the worst of her. He tells Lennie to stay away, probably because he is thinking about the incident in Weed. Furthermore, Curley, the ranch owner's son, later picks a fight with Lennie and hits him in the face. Lennie breaks his hand, and Curley is humiliated. He resents Lennie, but Slim tells him not to talk about the incident because, he warns, he will tell the truth about how Curley came to be so badly injured. Curley, who is insecure, accedes because he does not want to be embarrassed. Slim's intervention probably saves the two from being dismissed.
In spite of all the difficulties they have, the two men share a deep bond. They are tied to each other because George has made a solemn pledge to Lennie's aunt Clara that he will look after Lennie. He enjoys the task of being Lennie's guardian. Furthermore, the two men have a common goal. Their dream is to buy ten acres of land and gain their independence. This dream becomes the foundation on which their relationship rests and gives them the confidence to resist every attempt to break them apart—until the unfortunate and tragic end.

What are the advantages of computers?

A computer is an electronic device that can be used to store, retrieve, and process information. It consists of hardware and software. Hardware is the physical part of the computer, such as the mouse, monitor, or keyboard. Software is the set of instructions that enables the computer to carry out various tasks, for example, the operating system or word-processing software such as Microsoft Word.
Here are some advantages of computers:
Reduces paper use, as documents can be typed and stored in the computer.
Reduces storage costs, as files can be stored in the computer or even in the cloud when the computer is connected to the internet. We no longer have to maintain physical storerooms to hold volumes of paper documents.
Through the use of computer software, we are able to quickly complete tasks that would have taken a long time to do. For instance, Microsoft Excel enables us to sort, clean, and analyze large quantities of data once this data is entered into the system.
A computer can perform repetitive tasks without getting tired or bored. It is also highly accurate.
Through software use, computers can store and manipulate a large variety of data, for example, text, photographs, pictures, audio, and so on.
When connected to the internet, we can use computers to communicate with people from all over the world through applications such as Skype, Facebook, Yahoo Messenger, and so on.

Summarize the movie To Sir, With Love.

To Sir With Love is an award-winning 1967 British film set in a secondary school in contemporary London's East End. Sidney Poitier plays Mark Thackeray, a man of color from British Guiana who is pursuing an engineering career but agrees to take a teaching job in a school populated by teens with behavioral and academic issues. The film's themes have mostly to do with social class and race.
The teenagers continually push the boundaries of acceptable behavior, and Thackeray is patient with them until things escalate and the behavior crosses a line that he will not tolerate. After that event, Thackeray changes his way of interacting with the students, treating them as adults and helping them with not only academics but social and life skills. He continues to struggle with the students but does not give up on them even when they mistreat him.
Eventually, Thackeray is transferred by the school's head to a position as a physical education teacher because the school head doesn't believe that Thackeray is making progress with his students in the academic classroom. After a boxing match with a particularly recalcitrant student, Denham, Thackeray's former students show him respect and affection. Though he has, in the meantime, received an offer for an engineering position, Thackeray decides to return to the school for the next year.

Calculus of a Single Variable, Chapter 7, 7.1, Section 7.1, Problem 69

Given ,
y = 9-x^2 , y = 0
first let us find the total area of the bounded by the curves.
so we shall proceed as follows
as given ,
y = 9-x^2 , y = 0
=> 9-x^2=0
=> x^2 -9 =0
=> (x-3)(x+3)=0
so x=+-3

the the area of the region is = int _-3 ^3 (9-x^2 -0) dx
=[9x-x^3/3] _-3 ^3
= [27-9]-[-27+9]
=18-(-18) = 36
So now we have to find the horizonal line that splits the region into two regions with area 18
as when the line y=b intersects the curve y=9-x^2 then the ared bounded is 18,so
let us solve this as follows
first we shall find the intersecting points
as ,
9-x^2=b
x^2= 9-b
x=+-sqrt(9-b)
so the area bound by these curves y=b and y=9-x^2 is as follows
A= int _-sqrt(9-b) ^sqrt(9-b) (9-x^2-b)dx = 18
=> int _-sqrt(9-b) ^sqrt(9-b)(9-x^2-b)dx=18
=> [-bx +9x-x^3/3]_-sqrt(9-b) ^sqrt(9-b)
=>[x(9-b)-x^3/3]_-sqrt(9-b) ^sqrt(9-b)
=>[((sqrt(9-b))*(9-b))-[(sqrt(9-b))^(3)]/3 ]-[((-sqrt(9-b))*(9-b))-[(-sqrt(9-b))^(3)]/3]
=>[(9-b)^(3/2) - ((9-b)^(3/2))/3]-[-(9-b)^(3/2)-(-((9-b)^(3/2))/3)]
=>[(2/3)[9-b]^(3/2)]-[-(9-b)^(3/2)+((9-b)^(3/2))/3]
=>(2/3)[9-b]^(3/2) -[-(2/3)[9-b]^(3/2)]
=(4/3)[9-b]^(3/2)
but we know half the Area of the region between y=9-x^2,y=0 curves =18
so now ,
(4/3)[9-b]^(3/2)=18

let t= 9-b
=> t^(3/2)= 18*3/4
=> t=(27/2)^(2/3)
=> 9-b= 9/(root3 (4))

=> b= 9-9/(root3 (4))

=9(1-1/(root3 (4))) = 3.330

so b= 3.330

I need to write a satirical essay on Macbeth (kind of like Stephen Colbert or Jimmy Kimmel) what are some real-life events and/or situations in Macbeth that mirror real life?

One of the biggest parallels to real life that would be fun to explore in this vein of writing is the idea of the “power couple.” In Shakespeare’s play, the titular character and his wife Lady Macbeth conspire to achieve the goal of Macbeth taking the Scottish throne. The two of them together are ruthless, power-hungry, equal partners in the success of their plans.
Some modern-day political power couples include Donald & Melania Trump and Barack & Michelle Obama, which could allow you to write political satire.
In popular culture, the most notable example is Beyoncé and Jay-Z, who just announced the release of their joint album and the video for their single “APES***.” This power couple consists of two individuals who have reached the height of financial and artistic success, yet together possess even more power: only these two could convince the proprietors of the Louvre to use the museum as a backdrop for a hip hop music video.
I think this would be an enjoyable, interesting angle to explore in your essay.