Saturday, 8 April 2017

What is the role of the three witches in Macbeth?

It is also possible that the Weird Sisters do not have the ability to prophesy the future and actually only tell Macbeth the things they do in order to manipulate him into corrupting himself with his own ambition. After all, when they say in the first scene that "Fair is foul, and foul is fair," they imply that they are going to make good things seem bad and bad things seem good, a manipulative activity....

It is also possible that the Weird Sisters do not have the ability to prophesy the future and actually only tell Macbeth the things they do in order to manipulate him into corrupting himself with his own ambition. After all, when they say in the first scene that "Fair is foul, and foul is fair," they imply that they are going to make good things seem bad and bad things seem good, a manipulative activity. Then, when they tell him that he will be made the Thane of Cawdor, they aren't actually telling him the future; they are telling him something that has already happened (in the scene prior), though Macbeth isn't yet aware that it has happened. When Ross tells Macbeth that Duncan has named him Thane of Cawdor, it seems like the Weird Sisters predicted the future. 


To be sure, they do have some supernatural ability: they vanish, mystically appear, and even conjure some freaky apparitions (with the help of Hecate). In Shakespeare's era, people didn't like the idea that fate controlled their futures, that no matter what they did, a specific something was sure to happen; they much preferred to believe they had some agency and control in their own lives. Shakespeare certainly seems to leave the question about whether the Weird Sisters truly know the future or simply manipulate Macbeth for their own amusement open.

In The Merchant Of Venice, who do you think showed the greatest mercy: the duke, Portia, or Antonio? Justify your response.

A remarkably complex question, actually. To judge whom of the three showed Shylock the most mercy, one needs to look at what each demands and how that will affect Shylock. Obviously, the one whose demands bear the slightest adjustment to Shylock's circumstances, should be deemed the most merciful.

Let us peruse the three separately, starting with Portia:



The law hath yet another hold on you.
It is enacted in the laws of Venice,
If it be proved against an alien
That by direct or indirect attempts
He seek the life of any citizen,
The party 'gainst the which he doth contrive
Shall seize one half his goods; the other half
Comes to the privy coffer of the state;
And the offender's life lies in the mercy
Of the duke only, 'gainst all other voice.
In which predicament, I say, thou stand'st;
For it appears, by manifest proceeding,
That indirectly and directly too
Thou hast contrived against the very life
Of the defendant; and thou hast incurr'd
The danger formerly by me rehearsed.
Down therefore and beg mercy of the duke.



It is clear from what she says that Portia has no compassion at all for Shylock. She (in the role of lawyer) had given him numerous opportunities to renege on his demand for a pound of Antonio's flesh, but he stubbornly refused and here she is exercising the prescripts of the law. She is almost brutal in her judgment and wishes to punish Shylock for his stubbornness, lack of sympathy, and the alacrity he displayed to cut a piece of Antonio's flesh when told that he would be acting within his rights.


What Portia states above is that Shylock has committed a capital crime. In wishing to cut a pound of Antonio's flesh, he was being vengeful and spiteful, for such an act would surely have caused Antonio either grievous injury or death. This was against Venetian law and thus, not only would Shylock forfeit his entire estate, which would be divided equally between the state and Antonio, but also his life. She has proven Shylock's guilt and now leaves him at the mercy of the duke, whom Shylock should plead with for his life.


Portia has only been indirectly affected by Shylock's actions. The only reason she chose to present herself at court, in disguise, was to save the life of her beloved's closest friend and confidante. She wanted to spare him the pain and suffering of having lost a dear friend. Her compassion is therefore directed towards Bassanio and Antonio. Clearly, Portia shows Shylock no mercy.


The duke now has to dispense justice and says the following:



That thou shalt see the difference of our spirits,
I pardon thee thy life before thou ask it:
For half thy wealth, it is Antonio's;
The other half comes to the general state,
Which humbleness may drive unto a fine.



He points out a clear contrast between what Shylock wanted (Antonio's life) and what he is about to do. He pardons Shylock his life and commands that he surrender half his wealth to Antonio and the other to the state, as compensation for his vindictive desire to harm Antonio. Truly, the duke has been most merciful, for if he had decided to issue a death sentence, well, Shylock would have been no more. 


Antonio later beseeches the duke and the court to do the following:



... quit the fine for one half of his goods,
I am content; so he will let me have
The other half in use, to render it,
Upon his death, unto the gentleman
That lately stole his daughter:
Two things provided more, that, for this favour,
He presently become a Christian;
The other, that he do record a gift,
Here in the court, of all he dies possess'd,
Unto his son Lorenzo and his daughter.



Antonio requests that the duke cancel the fine for half of Shylock's wealth and states that he does not want the other half. He asks that he should be made trustee of that half to be kept until Shylock's demise when it would then be transferred to Lorenzo, Shylock's newly-acquired son-in-law. He furthermore makes two requests: that Shylock become a Christian and secondly, that he wills all his possessions to Lorenzo and Jessica who will then inherit such upon his death.


Antonio's request seems truly compassionate and merciful, however, there is some malice in his appeal. Asking Shylock, a deeply devout Jew, to become a Christian is quite vindictive. It is a lifelong punishment which Shylock, most probably, would not be able to bear. He would have to adopt Christian values which means that he would be unable to continue his trade - moneylending at interest. This would surely mean his end. One may ask whether Antonio, shrewd man that he is, expects that Shylock may very well take his own life for having suffered this most devastating humiliation.


If one weighs the three against each other, the duke has surely been the most merciful for his judgement has been without malice, unlike that of the other two.

Who is Bud's father? |

Unfortunately, Bud never finds out who his father is.


While Bud spends the majority of the book believing that Herman E. Calloway is his father, it is revealed in Chapter Eighteen that Calloway is actually Bud's grandfather. After Bud sees that Calloway collects rocks and writes on them, Bud shows him that he has several rocks with writing on them, too. Calloway accuses Bud of stealing the rocks from the room that he had been...

Unfortunately, Bud never finds out who his father is.


While Bud spends the majority of the book believing that Herman E. Calloway is his father, it is revealed in Chapter Eighteen that Calloway is actually Bud's grandfather. After Bud sees that Calloway collects rocks and writes on them, Bud shows him that he has several rocks with writing on them, too. Calloway accuses Bud of stealing the rocks from the room that he had been sleeping in, but Bud tells him that he had received the rocks from his mother. 


It is at this point in the story that Calloway realizes that he's never asked what Bud's mother's name is. Bud tells him the truth: Angela Janet Caldwell. Angela is actually the daughter of Calloway; she had run away from home because Calloway had been so hard on her growing up and had not been heard from since. Her death comes as an enormous shock to Calloway, who had been waiting for the eleven years since her disappearance for her to come home. 


Bud only learns that his father could be a drummer from Calloway's band, a man his mother may have run off with. However, there is no definitive conclusion. Despite this, Bud finds himself in a new home and with a new family in the shape of Calloway and his band.  

Friday, 7 April 2017

What does "Make thick my blood" mean in Macbeth?

"Make thick my blood," which Lady Macbeth says in a speech in Act I, means the same as the modern phrase, "harden my heart." Lady Macbeth has heard from her husband the prophecy of  the three witches that he will become Thane of Cawdor and King of Scotland. He has unexpectedly become Thane of Cawdor, so his wife believes the entire prophecy is true. Lady Macbeth is extremely ambitious, and she very badly wants her...

"Make thick my blood," which Lady Macbeth says in a speech in Act I, means the same as the modern phrase, "harden my heart." Lady Macbeth has heard from her husband the prophecy of  the three witches that he will become Thane of Cawdor and King of Scotland. He has unexpectedly become Thane of Cawdor, so his wife believes the entire prophecy is true. Lady Macbeth is extremely ambitious, and she very badly wants her husband to become ruler. To her mind, that means Macbeth must murder the current king, Duncan. Since Lady Macbeth has a conscience and feels terrible about the idea of killing an innocent man, she needs to harden her own heart to push her husband to do this evil deed. 


In this same speech, she says "unsex me here and fill me from the crown [head] to the toe top-full with direst cruelty." She asks the "spirits/that tend on mortal thoughts" to stop her from feeling remorse or sorrow over what she is demanding her husband to do. She realizes she is preparing to step outside of the bounds of morality. She is willing to sacrifice her morals to her ambitions: nothing matters more to her at this point than becoming queen. In the end, however, she will fail to stamp out her conscience, and her guilt will haunt her. 

Is more effort required to move a heavy object or a light object? Explain.

An object with more mass, which is often referred to as a heavier object, requires more force to set it in motion if one neglects friction. Newton's second law, F=ma, tells us that the force required to produce a given acceleration is proportional to the mass of the object. Thus an object with more mass must be acted upon by more force to accelerate it the same amount as an object with less mass.  


When friction is...

An object with more mass, which is often referred to as a heavier object, requires more force to set it in motion if one neglects friction. Newton's second law, F=ma, tells us that the force required to produce a given acceleration is proportional to the mass of the object. Thus an object with more mass must be acted upon by more force to accelerate it the same amount as an object with less mass.  


When friction is a factor the force that must be applied to move an object is equal to the force of friction opposing motion. If the friction-producing surface is the same for both objects, a heavier object still requires more force to be set into motion. The force of friction of an object being pushed across a flat surface is equal to the weight of the object times the coefficient of friction of the surface in contact with the object.


It's possible that a heavier object can be moved with less force than a lighter object if the heavier object is  being moved across a different surface with less friction.

Thursday, 6 April 2017

How does the quote"Lennie, for God's sakes don't drink so much" related to the Great Depression?

This is an interesting question.  George and Lennie's interaction in this scene does offer insights about the Great Depression in two ways. 


First, the men are poor.  They have little to eat and little to drink.  Many people during the Great Depression lost their jobs and so they could not take care of themselves well. We can see this clearly in this scene.  George and Lennie had to drink from a stagnant body of water,...

This is an interesting question.  George and Lennie's interaction in this scene does offer insights about the Great Depression in two ways. 


First, the men are poor.  They have little to eat and little to drink.  Many people during the Great Depression lost their jobs and so they could not take care of themselves well. We can see this clearly in this scene.  George and Lennie had to drink from a stagnant body of water, even if the water might make them sick.  George actually mentions that Lennie got sick the day before. 


Second, George and Lennie are migrant workers, who have left one place of employment, and they are sojourning to another.  They know nothing of settling down.  They are in this predicament, because during the depression, jobs were scarce, and men had to go wherever they could find work. 



How is the theme of censorship and mind control seen in Fahrenheit 451?

Though a reader’s first instinct may lead them to interpret Fahrenheit 451 through the lens of censorship, the ambiguous nature of Beatty’s character shows that Bradbury had a larger theme he was addressing than just indicting the lack of literacy in this dystopian society. Aware of a change in Montag, Beatty attempts to manipulate Montag’s opinion about what is contained in books through a rhetorically skillful speech to quell Montag’s rising curiosity. Beatty is a contradictory character in that he is aware of the knowledge found in books, but also advocates their eradication. To further subvert too much emphasis on censorship, Faber explains to Montag, “Remember, the firemen are rarely necessary. The public itself stopped reading of its own accord…so few want to be rebels anymore…people are having fun” (83). Published in the 1950s, Fahrenheit 451 is a reflection of America’s cultural climate and social norms including the prominence of complacency and conformity. Beatty’s ambiguous characterization serves to represent an aspect of Bradbury’s theme regarding his rejection of conformity as stressed by Montag’s media-saturated culture. Attempting to read on the train, Montag’s concentration is continuously disturbed by radio advertisements. Montag describes mass-media's influence by stating, “The train radio vomited upon Montag, in retaliation… [t]he people were pounded into submission; they did not run, there was no place to run…” (75). This statement not only illuminates the constant media inundation, but the latter half of his statement reveals, like Faber’s statement, society’s lack of concern and willingness to conform.

Bradbury isn’t simply making a statement against conformity, but rather condemns conformity that stems from ignorance. Montag joins the band of bibliophiles for a similar purpose and with the same goals. However, this is viewed as a positive conformity because, as their name implies, each is equipped with the knowledge of a book and their banded together through awareness, not ignorance. Bradbury supports this idea through the willing death of paradoxical Beatty. Even though Beatty attempts to use skillful rhetoric to influence Montag in continuing as the “Happiness Boys,” he is not an entirely unsympathetic character. After lighting him on fire, Montag turns Beatty’s words against him: “…you’re not a problem now. You always said don’t face a problem, burn it” (115). Like the bibliophiles, Beatty is also book learned, and similarly, his conformity doesn’t stem from ignorance. The difference between these two is analogous to Montag’s discovery that fire can both burn and warm. In this way, Beatty knows what he should do, but rather than face the problem of conformity, conforms himself to society. Seeing Montag’s willing resistance to conform, Beatty realizes his mistake, and dies a willing death to emphasize Bradbury’s rejection of conformity so prevalent in 1950s America.

Is there any personification in "The Tell-Tale Heart"?

Personification is a literary device in which the author attributes human characteristics and features to inanimate objects, ideas, or anima...