How many molecules are contained in 16.0 g of benzene?

One mole of a substance contains an Avogadro's number of molecules, which is equal to `6.023 xx 10^23` molecules. 

One mole of a substance contain one molar mass of that particular substance. The molar mass of benzene (chemical formula: `C_6H_6`) is 78 g/mole ( = 6 x 12 + 6 x 1).

In other words, 78 grams of benzene is present in 1 mole of benzene.

This is also the same as saying 78 g...

One mole of a substance contains an Avogadro's number of molecules, which is equal to `6.023 xx 10^23` molecules. 

One mole of a substance contain one molar mass of that particular substance. The molar mass of benzene (chemical formula: `C_6H_6`) is 78 g/mole ( = 6 x 12 + 6 x 1).

In other words, 78 grams of benzene is present in 1 mole of benzene.

This is also the same as saying 78 g of benzene contain 6.023 x 10^23 molecules.

Here, we have only 16 g of benzene. Therefore, by unitary method:

1 g of benzene contains (6.023 x 10^23)/78 molecules

and 16 g benzene contains 16 x (6.023 x 10^23)/78 = 1.24 x 10^23 molecules of benzene.

The same can also be calculated by knowing that 16 g of benzene is equivalent to 16/78 = 0.205 moles of benzene and then multiplying it by Avogadro's number to determine the number of molecules.

Hope this helps.

Why is it necessary for the masses to use transportation and consume other products?

The economic well being of the society in Brave New World is based on factories churning out mountains of consumer goods. If people don't buy these goods, the economy will grind to a halt. Therefore, the masses have to be conditioned to buy, buy, buy. Games are required to have complex parts, and in fact, no game less complex than what is already manufactured may be made. People are encouraged to throw out and replace...

The economic well being of the society in Brave New World is based on factories churning out mountains of consumer goods. If people don't buy these goods, the economy will grind to a halt. Therefore, the masses have to be conditioned to buy, buy, buy. Games are required to have complex parts, and in fact, no game less complex than what is already manufactured may be made. People are encouraged to throw out and replace clothes rather than repair them. People are taught through endless repetition that happiness lies in having new things. Students in this culture learn that consuming transport is all important too, presumably because it keeps the factories churning to produce helicopters, trains and other modes of transportation, as well as supporting a vacation and recreation industry:

A love of nature keeps no factories busy. It was decided to abolish the love of nature, at any rate among the lower classes; to abolish the love of nature, but not the tendency to consume transport. For of course it was essential that they should keep on going to the country, even though they hated it. The problem was to find an economically sounder reason for consuming transport than a mere affection for primroses and landscapes. It was duly found. “We condition the masses to hate the country,” concluded the Director. “But simultaneously we condition them to love all country sports. At the same time, we see to it that all country sports shall entail the use of elaborate apparatus. So that they consume manufactured articles as well as transport.

Clearly, the novel was written before any concerns had come up about the ecological impact of all this manufacture and consumption. 

What amendment to the Constitution could be made that would reduce the president's power to make war?

Under the United States Constitution, the president, as chief executive, does not have the power to “make war.” The president, as commander-in-chief of the armed forces, has the power to organize and commit those armed forces for the protection of the United States and its interests. The U.S. Congress has the power to declare war and/or to fund the military operations ordered by the president. Thus, there is an argument that a constitutional amendment to...

Under the United States Constitution, the president, as chief executive, does not have the power to “make war.” The president, as commander-in-chief of the armed forces, has the power to organize and commit those armed forces for the protection of the United States and its interests. The U.S. Congress has the power to declare war and/or to fund the military operations ordered by the president. Thus, there is an argument that a constitutional amendment to restrict the president’s power to make war is unnecessary since the president does not have the power to make war without the approval of the Congress, either via declaration of war or the continued funding of military operations.

However, the power of the president to initiate the use of armed forces in situations that might subsequently require Congress to declare war or authorize expenditures for continued military operations created some tensions between Congress and the executive branch in the 1960s and 70s. In 1973, Congress passed the War Powers Act, over President Nixon’s veto, which set forth the parameters for the presidential use of the military in imminent or existing hostilities. Under the War Powers Act, the president must consult with congress before inserting U.S. armed forces into hostilities and then continue to consult with Congress for the duration of the commitment of the armed forces. Additionally, under the act the armed forces must be withdrawn within 60 days of the report of insertion of the armed forces unless Congress approves continued military action.

The constitutionality of aspects of the War Powers Act is a continuing issue. Opponents of the act argue that not only does it improperly limit the power of the executive branch, it also gives Congress authority to enact resolutions that limit the executive’s power without being subject to the executive’s veto, which is a separation of powers issue. Thus, a possibility for an amendment to the U.S. Constitution that would restrict the president’s ability to insert armed forces into non-emergency situations would be an amendment that either included the language of the War Powers Act, thus resolving the questions of the constitutionality of the act, or an amendment that authorized Congress’s direct oversight of the continuing commitment of the armed forces, much as Section 5 of the Fourteenth Amendment gave Congress the authority to directly enforce the implementation of the due process rights guaranteed in that amendment.

As we prefer to keep amendments to the constitution less specific than individual legislation tends to be, an amendment with the actual provisions of the War Powers Act would likely not be the best avenue for an amendment limiting the power of the president to commit the U.S. armed forces. Instead, an amendment authorizing Congress to directly monitor and oversee the commitment of the armed forces for non-emergency situations might be workable. Any such amendment would likely need to include a provision that Congress could enforce the provisions of the amendment through appropriate legislation.

What happens during incident of The Pride Of The Thames in Three Men in a Boat by Jerome K. Jerome?

The narrator tells us this story in the final chapter, Chapter XIX, of Three Men in a Boat. He recalls a previous time when he and some friends made arrangements to hire a boat for a jaunt on this same river. They had asked for a “double sculling skiff,” which is a row boat with two oars. What was brought to them was

an antediluvian chunk of wood, that looked as though it had...

The narrator tells us this story in the final chapter, Chapter XIX, of Three Men in a Boat. He recalls a previous time when he and some friends made arrangements to hire a boat for a jaunt on this same river. They had asked for a “double sculling skiff,” which is a row boat with two oars. What was brought to them was

an antediluvian chunk of wood, that looked as though it had been recently dug out of somewhere, and dug out carelessly, so as to have been unnecessarily damaged in the process.

Ironically, the boat was named The Pride of the Thames. The narrator and his friends questioned the boat dealer and his son on whether or not the craft was really water-worthy. They were assured several times that it was the best one in stock, and that it had served folks without complaint for forty years. We are told that the group did the best they could with it and paid thirty-five shillings for its use. No further details come to light here, for the narrator then returns to telling the conclusion of his current story.

Can humans ever truly be individuals? What are some arguments on both sides of the issue?

My background is in anthropology, so I will attempt to give you some points to consider when addressing whether humans can ever truly be individuals.

The first thing that comes to mind is the idea of socialization. Since we are all socialized into the culture we inherit by birth, our worldview (or if you want to sound really smart, Weltanschauung) is formed by those who raise us and the cultural realities we immediately occupy. If we...

My background is in anthropology, so I will attempt to give you some points to consider when addressing whether humans can ever truly be individuals.

The first thing that comes to mind is the idea of socialization. Since we are all socialized into the culture we inherit by birth, our worldview (or if you want to sound really smart, Weltanschauung) is formed by those who raise us and the cultural realities we immediately occupy. If we are taught how to be and think from birth according to our culture (which includes our language, beliefs, manners, and everything else that instructs our interactions and how we conduct ourselves and communicate), we can never really be completely individual.

This is not necessarily a bad thing. To be truly individual you would need to speak your own language that could not be shared by anyone else. You would need to hold beliefs, values and opinions that were also unique to you alone. This, I am sure you can imagine, would be very frustrating and inconvenient to not just yourself but to all those who had to interact with you.

In a sense, no one can really be an individual because the very way we think and process our world is taught to us by others before we are even able to think for ourselves.

How would you critically analyze Pygmalion by George Bernard Shaw from a gender perspective?

Pygmalion by George Bernard Shaw has a plot derived from the classical myth concerning Pygmalion and Galatea, in which the sculptor, Pygmalion, fashioned Galatea, the perfect women, and then Aphrodite gave the sculpture life. In Shaw's retelling of the story, Professor Higgins tries to shape Eliza Doolittle into the perfect aristocratic woman, who can pass for a Duchess at a party.

Shaw, however, rejects the model of woman simply as a passive objectshaped by the male...

Pygmalion by George Bernard Shaw has a plot derived from the classical myth concerning Pygmalion and Galatea, in which the sculptor, Pygmalion, fashioned Galatea, the perfect women, and then Aphrodite gave the sculpture life. In Shaw's retelling of the story, Professor Higgins tries to shape Eliza Doolittle into the perfect aristocratic woman, who can pass for a Duchess at a party.

Shaw, however, rejects the model of woman simply as a passive object shaped by the male will. Eliza Doolittle is a woman with a mind of her own and while she learns manners and style of speech from Higgins, she refuses to be controlled by him. In fact, among the two most effective and strong-willed characters of the play are Eliza and Mrs. Higgins.

Eliza rejects the role of a passive object to be formed by Higgins and instead chooses to marry the weak-willed and amiable Freddy. Shaw sees that strength of character can be found in both men and women equally, and he argues in the Afterword that romantic pairings, rather than being dominated by males, are balanced, with strong characters marrying weaker ones, irrespective of gender:

Eliza has no use for the foolish romantic tradition that all women love to be mastered, if not actually bullied and beaten. ...  [S]trong people, masculine or feminine, not only do not marry stronger people, but ... seek for every other quality in a partner than strength.

Where would one submit a play that one wrote?

The avenues for new play submission are plentiful. First, each region of the U.S. has a program called The (region) New Playwright Competition. (The playwright must reside in the region; for example The Midwest New Playwright Competition accepts playwrights from Ohio, Indiana, and Iowa.) Plays accepted receive a stage reading directed by a professional director, and are assigned a dramaturg. During the event, the playwright rewrites his/her play after seeing a staged reading.

Next there are...

The avenues for new play submission are plentiful. First, each region of the U.S. has a program called The (region) New Playwright Competition. (The playwright must reside in the region; for example The Midwest New Playwright Competition accepts playwrights from Ohio, Indiana, and Iowa.) Plays accepted receive a stage reading directed by a professional director, and are assigned a dramaturg. During the event, the playwright rewrites his/her play after seeing a staged reading.

Next there are regional/national festivals such as the O’Neill Playwrights Festival (where August Wilson got his start), the Bay Area Playwright’s Festival, and many others of this nature.

Then there is the New Playwrights’ Lab in New York, a workhouse for developing new plays and playwrights, with dozens of successful alumni.

Many colleges as well have new play outlets of various kinds, where a visiting playwright can see their plays produced with student actors, as part of their training.

The stage reading (where the script is held in the actors’ hands while they perform the blocking and paralinguistics of the text) is the most common way to move your play toward full production. No, you do not get to have a voice in casting; even when your play is produced professionally, you will seldom have much say in the actors who are hired.

In the novel "The Unbearable Lightness of Being," how is the historical and political setting relevant to its themes of lightness and heaviness?

In "The Unbearable Lightness of Being," the themes of lightness and heaviness play out on multiple levels throughout the story. Much of the story takes place in Prague just after the Russian invasion. The characters Tomas, Tereza, and Sabina move to Switzerland to escape the invasion, but Sabina eventually returns to her home in Czechoslovakia. These shifting settings serve to echo the novel's themes of lightness and heaviness as its characters continually move from one...

In "The Unbearable Lightness of Being," the themes of lightness and heaviness play out on multiple levels throughout the story. Much of the story takes place in Prague just after the Russian invasion. The characters Tomas, Tereza, and Sabina move to Switzerland to escape the invasion, but Sabina eventually returns to her home in Czechoslovakia. These shifting settings serve to echo the novel's themes of lightness and heaviness as its characters continually move from one place to another to pursue the lightness of their dreams and escape the heaviness of outside oppression.

The changing setting also helps to demonstrate Tomas' gradual transformation from moral lightness to heaviness. In the middle of the novel, he follows Sabina to Czechoslovakia and continues his pattern of infidelity by chasing other women. As the novel continues, he begins to shift to moral heaviness and realizes that his love for Tereza is keeping him tethered. There is irony in the fact that Tomas leaves his light or flaky lifestyle behind to pursue a heavy love with Tereza, only to settle down with her on a communal farm, a setting which would be associated with lighter moral values to the outside world.

I have a 6 liter container and I put iron and water in it: 3Fe + 4H2O > Fe3O4 + 4H2 This is an equilibrium reaction and the constant of...

For the given well balanced reaction:

`3Fe + 4H_2O -> Fe_3O_4 + 4H_2`

the equilibrium constant can be written as:

`K_c = 0.38 = ([Fe_3O_4][H_2]^4)/([Fe]^3 [H_2O]^4)`

where, [] sign indicates the molar concentration of each substance in mol/l.

Let us assume that we started with "x" g of water. Since 50 g of water is left after the equilibrium has been established, the amount of water that has reacted is x - 50 g.

Since...

For the given well balanced reaction:

`3Fe + 4H_2O -> Fe_3O_4 + 4H_2`

the equilibrium constant can be written as:

`K_c = 0.38 = ([Fe_3O_4][H_2]^4)/([Fe]^3 [H_2O]^4)`

where, [] sign indicates the molar concentration of each substance in mol/l.

Let us assume that we started with "x" g of water. Since 50 g of water is left after the equilibrium has been established, the amount of water that has reacted is x - 50 g.

Since the molar mass of water is 18 g/mole (= 2 x 1 + 16), the moles of water that have been consumed are (x-50)/18. Since, the container has a volume of 6 l, the molar concentration of water that has reacted is given as (x-50)/(18x6) moles/l.

Using stoichiometry, 4 moles of water generate 4 moles of H2. Thus the concentration of H2 is (x-50)/(18x6) mol/l. 

4 moles of water generates 1 mole of Fe3O4. Thus the concentration of Fe3O4 is (x-50)/(18x6x4) mol/l.

And the moles of Fe consumed are (3/4) x [(x-50)/(18x6)] mol/l.

Substituting all these values into the equation for equilibrium constant and solving,  

we get, x = 184.87 g

The moles of water consumed = (x-50)/18 = 7.493 moles of water

Moles of Fe consumed are 3/4 x 7.493 = 5.62 moles. Using the atomic mass of iron (55.85 g/mole), amount of Fe consumed is 313.85 g. 

Thus, the moles of Fe3O4 generated are (x-50)/(18x6x6) = 1.873 moles. Since the molar mass of Fe3O4 is 231.55 g (= 3 x 55.85 + 4 x 16), the amount of Fe3O4 produced is 433.69 g.

Similarly, moles of hydrogen generated are the same of moles of water consumed and thus, are equal to 7.493 moles. Since the molar mass of H2 is 2 g/mole, the amount of H2 generated is 14.986 g or about 15 g.

Hope this helps. 

Though people often use the term “Third World” today as a stereotype that suggests poverty and misery, in the middle of the century the concept...

The original concept of the "Third World" simply differentiated the world into three zones of influence: The First World, linked ideologically and economically to the United States; the Second World, linked ideologically and economically to the Soviet Union; and the Third World, which remained unaligned with either side.

Over time, the connotations of these words changed, especially after the fall of the Soviet Union. Today, the Third World largely means "underdeveloped nations" and mainly refers to central Africa, Southeast Asia, and Central America.

The more positive concept of the Third World as a group of nations rising up together against colonialist oppression is known as third-worldism. The basic idea of third-worldism is that the suffering and poverty of Third World countries is not due to their own flaws in governance or policy, but the direct result of ongoing colonialist oppression by First World and Second World powers.

Third-worldism is mainly associated with Mao Tse-Tung, the founder of the People's Republic of China. I would be remiss and historically negligent if I did not also mention that Mao was very likely the worst mass murderer in human history, and his disastrous economic policies based upon his delusional vision in the so-called "Great Leap Forward" killed at least 20 million people. By some estimates Mao is responsible for the deaths of as many as 70 million people.

That said, it would be guilt by association to dismiss the concept of third-worldism entirely based on this. It is possible that the basic ideas of third-worldism could be true, even given how horrifically Mao applied them.

Third-worldism really took hold as a meaningful driver of policy starting at the Bandung Conference in 1955, where representatives from 29 countries met to decide whether Third World countries should align with the First World and the USA, the Second World and the USSR, or neither.

Jawaharlal Nehru (the first Prime Minister of India) was a central figure in the Bandung Conference, and was a major influence on the ultimate decision, which was to remain non-aligned. Indeed, in 1961 he would go on to found the Non-Aligned Movement, which remains today as a group of over 100 nations that are united primarily by their... unwillingness to be united. Their concepts of universal human rights and national sovereignty are very similar to the United Nations, but they have far less power and influence in world affairs than the UN. Unlike Mao, Nehru was democratically elected and not a mass murderer---but many of his policy decisions were nonetheless quite dubious, particularly his commitment to import substitution and his botched attempts at land reform. He did, however, implement many beneficial policies, including public education and laws forbidding discrimination against women and ethnic minorities. 

Nehru's vision of "non-alignment" meant not only being separate from the major power blocs, but essentially being opposed to power blocs in general; Nehru believed in a decentralized world of many minor powers, none strong enough to dominate the others. As part of this project, he was strongly opposed to the stockpiling of nuclear weapons.

It is difficult for me to be sympathetic to third-worldism, because it appears to be largely responsible for the fact that "Third World" now means little more than "abject poverty". The political and economic policies that arose out of third-worldism were completely and utterly disastrous everywhere they were applied, and supported the entrenchment of some of the most corrupt and murderous tyrants the world has ever seen. By separating themselves from international trade, refusing to engage with "Western values" like democracy and free markets simply because they were "Western," and denying any responsibility to establish good governance and sound institutions in their own countries, Third World nations condemned themselves to remain in poverty and stagnation. It was only when some nations began to extricate themselves from these ideological chains that they finally began to see a rising standard of living---most clearly demonstrated by China, but also clearly true in India and many other countries. (Mark my words, we will soon see the same result in Cuba, now that the US has begun to normalize relations with them.)

Colonialism clearly did exist, and to some extent still does, and it has caused enormous damage; but rather than engage with all the causes of poverty and stagnation, third-worldism encourages people to simply scapegoat all problems onto colonialism and take no responsibility for actually fixing them.

How does the Constitution reflect a compromise between the Federalists and the Anti-Federalists?

Following the signing of the Constitution and the Constitutional Convention, each of the states had to ratify the Constitution for it to become operative therein. The Federalists--a group who desired a stronger central government than the United States had under the Articles of Confederation--supported ratification; they dubbed their opponents "Anti-Federalists." The Anti-Federalists--a group which included such founders as Patrick Henry, George Mason, George Clinton, Samuel Adams, and James Monroe--feared the Constitution gave the central government...

Following the signing of the Constitution and the Constitutional Convention, each of the states had to ratify the Constitution for it to become operative therein. The Federalists--a group who desired a stronger central government than the United States had under the Articles of Confederation--supported ratification; they dubbed their opponents "Anti-Federalists." The Anti-Federalists--a group which included such founders as Patrick Henry, George Mason, George Clinton, Samuel Adams, and James Monroe--feared the Constitution gave the central government too much power, and valued the rights of the wealthy elite over those of the individual.

Technically, the Federalists won, for every state eventually ratified the Constitution. However, the Anti-Federalists forced them into a compromise which would protect the rights of individual citizens: the Bill of Rights. Whereas the Constitution delineated the role of each branch of government, the Bill of Rights listed specific rights, preserved for individuals, upon which the government could not infringe.

In The Great Gatsby, what is the significance of Chapter 1?

In The Great Gatsby, the first chapter introduces us to the narrator, Nick Carraway, as well as acquaints us with the fact that he is narrating the story after it's occurred, a perspective that will color his interpretation of statements, events, and people because he knows how it, and they, all turn out in the end. This point of view is called first person objective.

Further, the chapter introduces us to the setting of...

In The Great Gatsby, the first chapter introduces us to the narrator, Nick Carraway, as well as acquaints us with the fact that he is narrating the story after it's occurred, a perspective that will color his interpretation of statements, events, and people because he knows how it, and they, all turn out in the end. This point of view is called first person objective.

Further, the chapter introduces us to the setting of the novel—and the difference between East Egg (the more fashionable of the "Eggs" where people with old money, like Tom and Daisy, live) and West Egg (the flashy and less fashionable Egg, where people with new money, like Gatsby, live)—as well as all the major players: Gatsby, Tom, Daisy, and Jordan. We especially learn a lot about the lives of Daisy and Tom, including the fact that Tom has a mistress and that Daisy is very unhappy and disillusioned with her marriage and adult life.

In addition, Nick relates some advice his father gave him many years before: "'Whenever you feel like criticizing any one [...], just remember that all the people in this world haven't had the advantages that you've had.'" We learn, then, that not so very long ago, Nick was relatively nonjudgmental, and this is likely the reason all of the other characters were so willing to let him in on their secrets. None of them are good people—they are actually sort of terrible in their own ways—but Nick gets an intimate view into their lives because he has tried to live by this advice. Whether or not he continues to live by this advice remains for the reader to see.

What is the theme of "Charlotte's Web"?

The universal message that an author wants the reader to walk away with after reading a story is the literary element called a theme. Most often, these themes have something to do with what it means to be human. They speak to the reader’s heart and mind in ways they understand and help the reader connect with the story.

While death is a common theme in literature and it does play a part in “Charlotte’s...

The universal message that an author wants the reader to walk away with after reading a story is the literary element called a theme. Most often, these themes have something to do with what it means to be human. They speak to the reader’s heart and mind in ways they understand and help the reader connect with the story.

While death is a common theme in literature and it does play a part in “Charlotte’s Web,” the theme has much more to do with selflessness and the power of love to overcome hardship and pain. The author, E.B. White, deals with the reality of death in the form of Wilbur the pig’s constant danger of being killed and Charlotte the spider’s natural death. However, it is the main characters’ constant selfless acts of love and affection that either overcome the threat of death or help to deal with it, ending in a positive result. Once Charlotte dies, it is Wilbur, who has survived, that carries on her legacy by lovingly, selflessly caring for her egg sac and seeing to it that her spider offspring safely emerge.

Why does Jem call Scout "Angel May" in chapter 6 of To Kill a Mockingbird?

The answer can be found in Chapter 6.  The chapter begins with Jem and Scout heading over to see Dill one last time.  Being kids, the three of them are not content with just sitting around and talking to each other.  Scout wants to go find out if Mr. Avery is out tonight because they once saw him do some impressive distance urinating.  

At first we saw nothing but a kudzu-covered front porch, but...

The answer can be found in Chapter 6.  The chapter begins with Jem and Scout heading over to see Dill one last time.  Being kids, the three of them are not content with just sitting around and talking to each other.  Scout wants to go find out if Mr. Avery is out tonight because they once saw him do some impressive distance urinating.  

At first we saw nothing but a kudzu-covered front porch, but a closer inspection revealed an arc of water descending from the leaves and splashing in the yellow circle of the street light, some ten feet from source to earth, it seemed to us. Jem said Mr. Avery misfigured, Dill said he must drink a gallon a day, and the ensuing contest to determine relative distances and respective prowess only made me feel left out again, as I was untalented in this area.

Dill responds by offering that they "go for a walk."  Scout is instantly suspicious.  

He sounded fishy to me. Nobody in Maycomb just went for a walk. “Where to, Dill?”

It turns out that Dill wants to head south toward the Radley house.  Atticus has already told the children to stop bothering the Radleys, so Scout protests against going.  That's when Jem calls her "Angel May."  

Jem said, “Okay.” When I protested, he said sweetly, “You don’t have to come along, Angel May.”

Jem is teasing Scout with some nam-calling.  He's basically calling her something akin to a "goody goody" or "goody two shoes."  Some more back and forth occurs until Jem finally gives the final insult and tells Scout she is acting like a girl.  That pushes her over the edge, and she agrees to go with the boys. 

What does it mean to be grown up? Apply your answer to the novel.

Ender's Game, like most science fiction, takes societal "givens" and twists them in strange and compelling ways. One of the main "givens" thus experimented with is that of childhood, or the notion of childhood as discrete from, and inferior to, adulthood.

In the book, hyper-intelligent children are separated from their families and sent to Battle School, where they study military strategy, and train to become great generals. These children are infinitely (and necessarily) more intelligent than most adults, much less children; also, they comport themselves in ways we would not except of young children. Ender is about 11 when he passes his "Final Exam," and unwittingly destroys the Formics.

How many eleven-year-olds do you know? How many of them would be capable of not only leaving their families and living in a strict, violent military academy, but of leading large platoons and waging intergalactic warfare? How many would be able to survive the emotional and psychological stress that comes with being expected to save the world? Indeed, the children's of Ender's Game are advanced in all aspects.

As we can see, childhood does not exist for these students; their behavior, as well as their genius, sets them apart from "normal" children. Hence, they challenge our typical notions of childhood, innocence, and development. However, it is by studying the adults of Ender's Game that we truly appreciate its imaginative scope, and its troubling of concepts. These "grown-ups" are incompetent, negligent, and downright sadistic; they do not care for the well-being of the children at Battle School. Graff even admits that his job is to produce the next Alexander the Great, not to nurture children. He goes on to imply that Ender's health is of secondary importance. Graff and his colleagues are supposedly responsible adults, yet they ship innocent children to battle school, and expose them to incredible pressure, pain, and trauma. They also lie to and manipulate the children on a regular basis; Ender is initially unaware that his "Final Exam" is actually a war. When he does find out, he seems to have a complete nervous breakdown. As always, Graff's lies have terrible consequences.

Graff and his colleagues are trying to save the world. They feel that if they do not succeed in producing that next Alexander, they will be unable to stave off the Formic Invasion. But does this justify their atrocious treatment of the children at Battle School? We should also note that, despite their stated goal, they are grossly negligent in terms of basic school management. For example, Ender is acutely aware that Bonzo Madrid is mentally unstable, and that the school administrators will do absolutely nothing to prevent him from hurting others. This negligence is what ultimately leads to Bonzo's death, and yet another traumatizing experience for Ender. One would think that, in order to create the best and brightest generals, the administration would be more vigilant, and ensure the children's safety.

It is perhaps their utter lack of empathy which is most troubling among the adults. On the other hand, empathy is surprisingly plentiful among the children. Whereas Graff and his colleagues do not really care if any particular child lives or dies, the children often go out of their way to comfort, nurture, and support each other. After the "Final Exam," Petra and the rest of Ender's platoon dote over him as he recovers; Ender went out of his way to counsel and befriend Bean, just as Petra had done for him earlier; Dink Meeker is noted for his unusually kind manner. The children, in contrast to the adults, band together, and protect each other from the rapacious environment of Battle School.

Thus, in Ender's Game, hyper-intelligent children are more empathetic, and often more moral, than their adult counterparts. Whereas adults are cruel, negligent, and myopic, the children care for each other, and are sometimes able to perceive the injustice of their situation (especially Dink).

Ultimately, the novel asks us to reconsider what it means to be a "grown-up." The children of Ender's Game are not only more "grown up" than their teachers in terms of intelligence and competence, but also in terms of empathy, morality, and community. It could be argued that, in a world of invading aliens and vicious adults, the children are the only human element in all of Ender's Game.

What is the relevance of the displacement defense mechanism to pastoral counseling?

A good counselor doesn't explain a lot or offer a lot of solutions. Instead, she helps a person work through their own problems and come to their own conclusions. The client is the one engaged in the critical work of self-development. The counselor is there to guide, support, structure, and facilitate the process. To be effective, a counselor needs to have a very broad and deep understanding of human behavior and psychology. 

Displacement is a common...

A good counselor doesn't explain a lot or offer a lot of solutions. Instead, she helps a person work through their own problems and come to their own conclusions. The client is the one engaged in the critical work of self-development. The counselor is there to guide, support, structure, and facilitate the process. To be effective, a counselor needs to have a very broad and deep understanding of human behavior and psychology. 

Displacement is a common defense mechanism (i.e. behavior humans use to cope with negative feelings). It occurs when a person has a goal or a desire that they believe to be either impossible to achieve, or unacceptable in the first place. In displacement, a person acts out their perceived impossible goal on an individual that has nothing to do with their true goal. Here's one example:

Imagine a person who is subject to verbal abuse, beratement, and constant mistreatment by his boss at work. He wants to defend himself, but he doesn't know how to stand up for himself. Perhaps he fears being fired, or maybe he is ashamed. He wishes he could change the situation, but he doesn't honestly believe he can. Deep down, he knows he'll never stand up to his boss. Yet at home, the man acts out his goal by being verbally abusive toward his children. Though his children have nothing to do with his real goal (to stand up to his boss), he displaces his anger and aggressiveness onto them. This is an example of displacement. In most cases, it is a maladaptive behavior with negative consequences.

A competent counselor will be able to recognize when a person is using the displacement defense mechanism, and will have tools at her disposal to help the client learn better, more adaptive coping mechanisms. In the case of man who is subject to abuse at work, the counselor may begin to work with him on assertiveness strategies. At the same time, she may explore with her client the possibility that the anger he displays toward his children at home is displaced. Exploring this possibility provides space for the man to begin to heal his relationship with his children, and with other folks in his life.

How is the society in the book responsible for the current rules on time?

The society in “’Repent, Harlequin!’ said the Ticktockman” is a society in which the members of that society have sacrificed personal liberty for order and timeliness. The story is representative of the constant tension between being able to do as one wishes and adhering to the rules of society for the collective benefit of all the members of society.

Humans are group animals. We depend on group structure for survival. The rules of any given...

The society in “’Repent, Harlequin!’ said the Ticktockman” is a society in which the members of that society have sacrificed personal liberty for order and timeliness. The story is representative of the constant tension between being able to do as one wishes and adhering to the rules of society for the collective benefit of all the members of society.

Humans are group animals. We depend on group structure for survival. The rules of any given group of humans exist to redirect our individualist tendencies (i.e. survival goals) toward group benefit. The story “’Repent, Harlequin!’ said the Ticktockman” shows us a world in which a society has taken this to the extreme.

Given the structured nature of the society, any disruption to the schedule on an individual level has a ripple effect on the society as a whole. All activities by members of the Ticktockman’s society are intended to be for the benefit of the collective; therefore, any activities that interfere with the orderliness of the society directly impact the survival of the offending individual via the loss of time from the individual’s life. The rules against disrupting others and not wasting time are thus an aspect of this nearly total subversion of the individual’s survival for the benefit of the collective.

What is meiosis? What is not true about meiosis?

During anaphase I the chromosomes do NOT split into separate chromatids. During anaphase I, the sister chromatids remain connected, and each of the initial two daughter cells receives one of each homologous pair of the original chromosomes. Separation of the chromatids occurs during anaphase II, with each of the four resulting cells receiving one chromatid.

There are two phases of meiosis, ultimately resulting in four daughter cells (in the case of egg cells, only one...

During anaphase I the chromosomes do NOT split into separate chromatids. During anaphase I, the sister chromatids remain connected, and each of the initial two daughter cells receives one of each homologous pair of the original chromosomes. Separation of the chromatids occurs during anaphase II, with each of the four resulting cells receiving one chromatid.

There are two phases of meiosis, ultimately resulting in four daughter cells (in the case of egg cells, only one of the four is functional).

Crossing over does indeed happen during prophase I, when the homologous chromosomes are so close to each other that they can exchange sections of genetic material with each other.

Homologous chromosomes form tetrads--this is when the two homologous chromosomes of each set pair up prior to being separated during the first phase of meiosis.

How does Arthur Conan Doyle create the setting and the atmosphere in "The Adventures of the Speckled Band?"

Sir Arthur Conan Doyle is a master of setting and atmosphere. In “The Adventure of the Speckled Band,” he creates an atmosphere of foreboding and suspense around the Roylott estate. He often uses detailed physical descriptions, characters’ actions, and careful diction (word choice) to build a sense of danger.

He starts this process at the beginning of the story, when Helen Stoner arrives extremely early at 221B Baker St. to consult Holmes on an urgent matter. As Holmes puts it, “Now, when young ladies wander about the metropolis at this hour of the morning, and knock sleepy people up out of their beds, I presume that it is something very pressing which they have to communicate.”

As readers, we instantly sense that something serious is about to happen. When Holmes notices Helen Stoner is shivering, she admits that she is shaking from terror. This confession increases the sense of foreboding.

When she describes her stepfather and his violent temper, the reader realizes how dangerous this man is to Helen and may be to Holmes. Conan Doyle has Helen share numerous details of his behavior: shutting himself in his house and ‘engaging in ferocious quarrels’ with the neighbors and villagers; ‘violence of temper approaching mania…intensified by his time in the tropics’; ‘a man of immense strength, uncontrollable in his anger…who hurled a blacksmith over a parapet,’

The bulk of the rising action and the climax of the story take place at the Roylott’s decrepit ancestral home, which is surrounded by a broken down wall and overgrown gardens. In addition, a cheetah and a baboon roam around freely and may attack at any time. The depressing and dangerous setting increases the overall dark tone of the narrative.

Conan Doyle also uses adjectives that reflect a menacing atmosphere. As Holmes and Watson approach the Roylott estate, Watson says, “A moment later we were out on the dark road, a chill wind blowing in our faces, and one yellow light twinkling in front of us through the gloom to guide us on our sombre errand.” Notice the words like ‘dark,’ ‘chill,’ ‘gloom,’ and ‘sombre.’  

By using characters’ actions, detailed descriptions, and careful word choice, Conan Doyle establishes a deeply suspenseful, ominous atmosphere throughout “The Adventure of the Speckled Band.”

In which way did Rosa Parks have an impact on American society? Is Rosa Parks the reason for equality in the United States?

The answer to this really depends on whether you subscribe to the “great man” (or, in Parks’s case, “great woman”) view of history.  If you do subscribe to that point of view, you could say that equality exists in the US (to the extent that it actually does) because of her.  If you do not subscribe to this school of thought, Parks is much less important.

The great man view of history holds that important...

The answer to this really depends on whether you subscribe to the “great man” (or, in Parks’s case, “great woman”) view of history.  If you do subscribe to that point of view, you could say that equality exists in the US (to the extent that it actually does) because of her.  If you do not subscribe to this school of thought, Parks is much less important.

The great man view of history holds that important individuals drive historical events.  These individuals cause these events to happen.  In this view, for example, we might say that Hitler caused WWII and that Rosa Parks and Martin Luther King brought about equality in the United States.  People who follow this school of thought would argue that Parks really sparked the Civil Rights Movement by refusing to give up her seat on the bus.  If not for her, the movement would not have begun and we would not have as much racial equality as we do.

To others, Parks herself is not that important in that she did not cause the Civil Rights Movement to happen.  In this view, if Parks had not started the movement, someone else would have.  This is because forces greater than any one individual drive historical events.  In other words, the Civil Rights Movement did not start because Rosa Parks remained seated.  Instead, it occurred because of large historical forces like the legacy of WWII, the Cold War, the increase in American prosperity, and the fact that the rhetoric of American independence emphasizes equality and justice.  It is those larger forces, and not the actions of any single individual, that cause important things to happen.

I tend to subscribe to this second point of view.  Rosa Parks, as an individual, was admirable.  She was willing to fight for what she believed was right.  She helped to begin a movement that made the US a better place.  However, I do not believe we can say that whatever equality we have today exists because of her.  I believe that the Civil Rights Movement would have occurred more or less as it did even if Parks had not been on that bus on December 1, 1955.

In the line, "O My Luve’s like a red, red rose," by Robert Burns, which figure of speech is this an example of?

This line is an example of a simile.  A simile is a comparison, usually using "like" or "as."  This can be distinguished from a metaphor, in which we are saying something is something, not simply like something.  Both similes and metaphors play an important part in writing, so that people can have concrete imagery to focus on.  Here are some examples of similes and metaphors for you, so you can understand the difference.

Similes:

Her...

This line is an example of a simile.  A simile is a comparison, usually using "like" or "as."  This can be distinguished from a metaphor, in which we are saying something is something, not simply like something.  Both similes and metaphors play an important part in writing, so that people can have concrete imagery to focus on.  Here are some examples of similes and metaphors for you, so you can understand the difference.

Similes:

Her hair was like golden sunshine. 

He was like a feral wolf.

The crowded, cluttered house was like a flea market.

Metaphors:

Her hair was golden sunshine.

He was a feral wolf.

The crowded, cluttered house was a flea market.

In similes and in metaphors, I am trying to show that the subject has some attributes of what follows.  The reader knows that the hair is exceptionally bright, like the sun, that the man is wild, untamed, like a wolf, that the house is so crowded and cluttered, it has the attributes of a flea market.  Without similes and metaphors, our language would be impoverished! 

In Romeo and Juliet, how does Paris explain the hasty marriage plans?

In the beginning of Act IV of Shakespeare's Romeo and Juliet, Count Paris is explaining to Friar Lawrence the new marriage plans of Lord Capulet. Capulet has given Paris permission to marry Juliet. When the friar notes that the "time is very short," Paris claims that Capulet wants Juliet married as soon as possible so she doesn't continue to mourn the death of Tybalt:

Now, sir, her father counts it dangerousThat she do...

In the beginning of Act IV of Shakespeare's Romeo and Juliet, Count Paris is explaining to Friar Lawrence the new marriage plans of Lord Capulet. Capulet has given Paris permission to marry Juliet. When the friar notes that the "time is very short," Paris claims that Capulet wants Juliet married as soon as possible so she doesn't continue to mourn the death of Tybalt:

Now, sir, her father counts it dangerous
That she do give her sorrow so much sway,
And in his wisdom hastes our marriage
To stop the inundation of her tears

Capulet and Paris have no idea what is going on with Juliet, yet the audience is well-aware of the situation. Capulet and Paris do not realize Juliet's tears are caused by Romeo's banishment, not Tybalt's death. Moreover, she cannot marry Paris because she is already married to Romeo. When Juliet enters the scene to speak to the friar, she basically avoids much conversation with Paris, who is quite eager to marry her. The marriage plans with Paris ultimately act as the catalyst for the tragic events at the end of the play.

What do Cassius and Brutus discuss at the end of Act 1, Scene 2 in Julius Caesar? Which "side" will Brutus ultimately choose?

Brutus and Cassius are discussing Caesar’s ambition and what to do about it.

Cassius seeks out Brutus and asks him what he thinks about Caesar.  He knows that Brutus and Caesar are close.  However, he still wants Brutus to join in their conspiracy because his name and reputation will help lend them legitimacy.  Brutus tells him he is indeed concerned about Caesar’s ambition.

Brutus promises to consider Cassius’s arguments, but does not make a promise...

Brutus and Cassius are discussing Caesar’s ambition and what to do about it.

Cassius seeks out Brutus and asks him what he thinks about Caesar.  He knows that Brutus and Caesar are close.  However, he still wants Brutus to join in their conspiracy because his name and reputation will help lend them legitimacy.  Brutus tells him he is indeed concerned about Caesar’s ambition.

Brutus promises to consider Cassius’s arguments, but does not make a promise to join them.  He tells Cassius that he does not want to live under Caesar’s thumb, however.

What you have said
I will consider; what you have to say
I will with patience hear, and find a time
Both meet to hear and answer such high things.
Till then, my noble friend, chew upon this:
Brutus had rather be a villager
Than to repute himself a son of Rome
Under these hard conditions as this time
Is like to lay upon us. (Act 1, Scene 2)

Casca comes and tells them that Caesar was offered a crown three times by Mark Antony.  This seems to reinforce their fear that Caesar is making a play for becoming King of Rome.  Brutus and Cassius do not approve of kings.  Rome hasn’t had a king in a long time.  Caesar is dictator, which is bad enough.  They do not want to risk him getting more power.

After Brutus leaves, Cassius tells us his plan for making Brutus agree to join their conspiracy.  He will trick him into thinking that all of the people of Rome want Brutus as their leader.

If I were Brutus now and he were Cassius,
He should not humour me. I will this night,
In several hands, in at his windows throw,
As if they came from several citizens,
Writings all tending to the great opinion
That Rome holds of his name … (Act 1, Scene 2)

Cassius hopes that Brutus will find all of these letters, supposedly from many Romans, begging him to take care of Caesar.  He thinks that Brutus is on the edge, but this will give him the extra push to agree to join them.  Cassius already has a group going, but he wants Brutus’s clout.

At this point, the reader or audience can make a prediction that Brutus will join the conspiracy.  He has said that he is concerned about Caesar’s power and ambition, and he told Cassius to come see him to talk to him again.  We also know that Cassius has a plan to convince Brutus that the people of Rome are on his side.

In the story "The Lottery" by Shirley Jackson, why are the townspeople holding the lottery?

The townspeople are holding a lottery this year because there has always been a lottery at this time of year since time immemorial. Nobody seems to know why the lotteries are held. Even Old Man Warner, the most enthusiastic advocate of tradition, does not seem to know what this annual lottery is all about.

Old Man Warner snorted. "Pack of crazy fools," he said. "Listening to the young folks, nothing's good enough for them. Next...

The townspeople are holding a lottery this year because there has always been a lottery at this time of year since time immemorial. Nobody seems to know why the lotteries are held. Even Old Man Warner, the most enthusiastic advocate of tradition, does not seem to know what this annual lottery is all about.

Old Man Warner snorted. "Pack of crazy fools," he said. "Listening to the young folks, nothing's good enough for them. Next thing you know, they'll be wanting to go back to living in caves, nobody work any more, live that way for a while. Used to be a saying about 'Lottery in June, corn be heavy soon.' First thing you know, we'd all be eating stewed chickweed and acorns. There's always been a lottery," he added petulantly.

Warner brags about having participated in the annual lottery seventy-seven times. He is the oldest person in attendance and should have some faint recollection of hearing about the meaning and purpose of this event. The saying about "Lottery in June, corn be heavy soon" suggests that this ceremony dates far back to the times when human sacrifices were made to fertility gods or goddesses to insure having good crops. That was probably the real original purpose of this lottery many centuries ago. Shirley Jackson wants to illustrate how superstitions get carried on for countless generations although their original purposes have been forgotten. 

The people are holding the lottery, not because they want it to produce something beneficial to the community, but because they are afraid of what might happen if they gave it up. They don't want to test it. Mr. Summers suggests that this drawing is something the people feel they must go through even though they are afraid for themselves, afraid for their families, and afraid of the bloody orgy in which they will have to participate. Mr. Summers is in charge of the lottery. He announces:

"Well, now." Mr. Summers said soberly, "guess we better get started, get this over with, so's we can go back to work. Anybody ain't here?"

Everybody knows that a man named Clyde Dunbar is not in attendance because he is laid up with a broken leg. This suggests another reason that the people hold the lottery every year. Attendance is mandatory. Being sick is no excuse for not showing up. Each person figures that if he or she must attend the lottery, then nobody else should be able to get out of attending. There is strong group pressure holding this awful thing together. The children are all being taught that they must participate and how to participate. Davie Hutchinson, who is only about two years old, is being indoctrinated by Joe Summers' assistant Mr. Graves.

What are two similes from Chapter 7 of the book The Magician's Nephew?

A simile is a means of comparison using the words "like" or "as"; for example, saying, "She hovered like a helicopter." In Chapter 7 of The Magician's Nephew, as Digory tries to sort out what to do about the Witch, who has come into his world, there are more than two similes. I will share a few.

Digory must keep an eye on the front door, to try to stop the Witch before she...

A simile is a means of comparison using the words "like" or "as"; for example, saying, "She hovered like a helicopter." In Chapter 7 of The Magician's Nephew, as Digory tries to sort out what to do about the Witch, who has come into his world, there are more than two similes. I will share a few.

Digory must keep an eye on the front door, to try to stop the Witch before she enters the house. He "must watch the front door like a cat watching a mouse's hole" (90). Next, when the Witch appears, standing on the roof of a hansom, "her eyes shone like fire, and her long hair streamed out behind her like a comet's tail" (93). She whispers to the horse in a way that stirs it up, and "its neigh was like a scream" (93).

Similes are quite important in literature, allowing us to experience something more concretely and at the same time more imaginatively. As we imagine Digory watching over the front door, we get that image of a cat waiting to pounce, and as we think about the Witch, we get a sharper image than if the writer had simply said her eyes shone and her hair blew out behind her.  As we read, these concrete comparisons contribute a great deal to our enjoyment of a story.

Write your response to Brent Staples's essay, "Just Walk On By: Black Men and Public Space."

In this essay, Staples, a black man, acknowledges the fear his presence evokes in people on the street and talks about the measures he takes to avoid alarming strangers, especially whites who might form the wrong ideas about him. For example, he will drop back if he is behind a woman on the sidewalk so that she doesn 't think he is going to mug her, and he will hum classical music, such as Beethoven,...

In this essay, Staples, a black man, acknowledges the fear his presence evokes in people on the street and talks about the measures he takes to avoid alarming strangers, especially whites who might form the wrong ideas about him. For example, he will drop back if he is behind a woman on the sidewalk so that she doesn 't think he is going to mug her, and he will hum classical music, such as Beethoven, to help convince people he is not a "thug." He says he engages in these behaviors because too many innocent black men he knows have been shot or killed due to having their actions or appearance interpreted as hostile or criminal. He is trying to illustrate for white audiences how racism works in very real ways as black men navigate public spaces. He is showing that black men have to take precautions all the time that whites never have to think about. By describing his strategies in such detail, he hopes for whites to get inside his skin and see what it feels like to be him.

This essay raises two issues for me: First, it was written decades ago. Have things changed at all for black men in public spaces? Have they gotten worse? What does it say about our society if the treatment of black men has not changed or has worsened?

Second, is Staples doing the right thing in being so accommodating to white fears? Doesn't he have the same rights as other people to dress the way he wants, listen to the music he wants and walk where he wants? Isn't he giving in to racism by letting it dictate his behavior? Or is he simply wise and practical given the racial climate in which he lives?

In Tom's opening speech of The Glass Menagerie, what does he reveal about the nature of the play?

Tom immediately assumes the role of narrator, even though he will also be a main character in the play. "I give you truth in the pleasant disguise of illusion," he says, promising to be not so much a magician as a creator of meaning and truth via the story. So, we immediately understand that we should be looking for some kind of truth made by the fictional story that will soon play out.

He states...

Tom immediately assumes the role of narrator, even though he will also be a main character in the play. "I give you truth in the pleasant disguise of illusion," he says, promising to be not so much a magician as a creator of meaning and truth via the story. So, we immediately understand that we should be looking for some kind of truth made by the fictional story that will soon play out.

He states the setting directly, taking us to the turbulent 1930's and asserts that this will be a "memory play," with everything being fuzzy, dim, emotional, imaginary, and set to gentle background music. The nature of the play, then, is established as more like the inside of a human mind than an actual theater.

Like the incredibly straightforward narrator that he is, Tom gives us the names of the other characters in the play. But then, like the vague and wistful dreamer that he also is, Tom declares that one character (whom we are told in advance about and can identify later as the "gentleman caller") is not so much a real person but a symbol of "the long delayed but always expected something that we live for." This hint prepares us to watch for this character and pay attention to his symbolic role in the story. We understand even more now that the play will be dreamlike and literary, and that it will make a statement about our long-held expectations.

In sum, Tom's opening speech reveals the symbolic, dreamlike, contemplative nature of this "memory play."

How is war presented in the poem "Dulce et Decorum est?"

War is presented as cruel and barbarous in this poem, set on a World War I battlefield. It opens not with soldiers depicted as young, strong and glorious, but describes them as old, sick, broken people:

Bent double, like old beggars ... coughing like hags.

It continues by noting how soldiers have lost their boots and limp on with bloody feet, "lame ... blind ... drunk with fatigue." There is nothing heroic in this depiction...

War is presented as cruel and barbarous in this poem, set on a World War I battlefield. It opens not with soldiers depicted as young, strong and glorious, but describes them as old, sick, broken people:

Bent double, like old beggars ... coughing like hags.

It continues by noting how soldiers have lost their boots and limp on with bloody feet, "lame ... blind ... drunk with fatigue." There is nothing heroic in this depiction of the modern warrior. 

Owen then describes a mustard gas attack, particularly focusing on a soldier who gets caught in the attack without his gas mask on. Owen doesn't hold back in his graphic description of the man's fate: 

"white eyes writhing ... the blood come gargling from the froth-corrupted lungs/ obscene as cancer ... incurable sores ..."

Owen addresses the audience directly, telling them if they saw such sights they would not glorify war. He then calls the old phrase "dulce and decorum est," which means "it is sweet and fitting" to die for one's country, "the old Lie."

Owen wants his audience to see that war is horrible, not heroic, ghastly not glorious, and that it is not "sweet" to die for one's country.  

The demand for fresh milk at the university farm outlet remained unchanged at 3 liters per consumer after a 25% increase from $1 per liter....

At least within this price range, it is clear that the demand for this particular milk is perfectly inelastic.  We can determine this by using the equation for price elasticity of demand, but we can also see that this is so simply by thinking about the situation.

According to the law of demand, the quantity demanded of a product varies inversely with its price.  However, the law of demand does not tell us how much...

At least within this price range, it is clear that the demand for this particular milk is perfectly inelastic.  We can determine this by using the equation for price elasticity of demand, but we can also see that this is so simply by thinking about the situation.

According to the law of demand, the quantity demanded of a product varies inversely with its price.  However, the law of demand does not tell us how much it will vary.  In other words, it tells us that a demand curve has a negative slope, but it does not tell us what that slope is.  When demand for a product is very elastic, a small change in price causes a big change in quantity demanded.  When demand for a product is very inelastic, even a big change in price causes only a small change in quantity demanded.  The more the quantity demanded changes, the more elastic the demand is.

In this case, we have a large change in price, and no change in quantity demanded.  Customers have bought the exact same amount even though the price has changed.  This means that demand for this product is very inelastic.  In fact, it means that it is perfectly inelastic (within this price range) because there was absolutely zero change.

Let us look at this using the equation for price elasticity of demand.  The equation is

Price elasticity of demand = percent change in quantity demanded/percent change in price.

In this scenario, our percent change in quantity demanded is 0 while our percent change in price is 25.  Therefore, our price elasticity of demand is 0/25 or simply 0.  A price elasticity of demand of 0 means that the demand is perfectly inelastic.  At least in this price range, the seller can change the price and the consumers will still buy the exact same amount that they bought at the previous price.

To what extent does Shakespeare make you sympathize with Caesar in Julius Caesar?

Shakespeare creates sympathy for Caesar by reminding us his wife is barren, having us learn about his seizures, and showing us his reaction to Brutus’s betrayal.

Caesar is hardly a sympathetic character. In fact, Shakespeare goes out of his way to make him seem like an arrogant and thoroughly unlovable guy. However, hidden in his portrait of Caesar the egotistical are a few incidents that make him a more sympathetic character. Caesar had troubles just like any other man.

First of all, Caesar has no sons. For an important man in ancient Rome, this would have been not only difficult, but almost unbearable. This is the reason Caesar asks Mark Antony, his cousin, to help him make Calpurnia fertile.

CAESAR

Forget not, in your speed, Antonius,
To touch Calpurnia; for our elders say,
The barren, touched in this holy chase,
Shake off their sterile curse. (Act 1, Scene 2)

The Romans were a superstitious lot. They believed that if a man running in the Feast of Lupercal race touched a woman, she would have a baby. Caesar asks Antony to do this because he wants an heir. This helps make the audience sympathetic to Caesar because it humanizes him. We realize that he has some of the same problems as anyone else, and we feel sorry for him.

Another example of Caesar’s weaknesses being demonstrated by Shakespeare is the seizure or fainting fit.  As with the Feast of Lupercal race, the seizure demonstrates a complex use of characterization. Shakespeare uses Casca to describe it, and Casca is hardly sympathetic to either Caesar or the people.

CASSIUS

But, soft, I pray you: what, did Caesar swound?

CASCA

He fell down in the market-place, and foamed at
mouth, and was speechless.

BRUTUS

'Tis very like: he hath the falling sickness. (Act 1, Scene 2) 

Caesar’s seizures are a sign of weakness to his fellow Romans, and they may make us feel sorry or concerned for him. They make him seem like a sick man or an old man, not a powerful or invincible man. Caesar ignores warnings of the danger to him, but clearly he has some health problems. Shakespeare wants to make sure his audience knows about them.

Finally, there is the assassination itself. We may not feel too sorry for Caesar before he is stabbed, but you would have to be pretty heartless not to feel sorry for him after. For one thing, he is tricked and waylaid by a group of senators, all of who stab him. He is stabbed dozens of times. Ultimately, though, it is Brutus’s betrayal that hurts him.

CASCA

Speak, hands for me!

CASCA first, then the other Conspirators and BRUTUS stab CAESAR

CAESAR

Et tu, Brute! Then fall, Caesar.

Dies (Act 3, Scene 1)

It doesn’t look terribly impressive on paper, but picture it performed in a theater! Brutus, Caesar’s friend, the man who has been like a son to him, stabs him last as he is lying there after having been stabbed over and over again. We certainly pity Caesar at this moment, when he feels betrayed by everyone, but especially by Brutus.

Caesar is not a completely sympathetic character. He laughs off the soothsayer and refuses to listen to the Cinder brothers. He clearly has been pushing people around, since Brutus and his friends keep calling him arrogant and power-hungry. Nonetheless, Shakespeare makes an effort to show a Caesar as at least a little nuanced. We see him as a man, and not just as the leader of Rome. They say it's lonely at the top. It seems like it was for Caesar. He was betrayed by those closest to him, and he didn't even have a son to leave his legacy to.

What are some quotes showing "friendship, loyalty, bravery, heroes" in the novel The Outsiders?

Friendship: The Greasers always look out for each other throughout the novel. The majority of Greasers have a rough home life, and Ponyboy explains why his family always welcomes friends into their home by saying,

"Our front door is always unlocked in case one of the boys is hacked off at his parents and needs a place to lay over and cool off" (Hinton 89).

The Curtis brothers sympathize with their friends' difficult situations and choose to leave their door unlocked at all times to help their friends out.

In Chapter 8, Ponyboy and Two-Bit visit Johnny while he is in the hospital. Johnny is very weak, and Ponyboy struggles to find something positive to say about the situation. Ponyboy tells Johnny that he has repaired his relationship with Darry and that Dally is okay. Ponyboy comments on his relationship with Johnny by saying,

"We had always been close buddies, and those lonely days in the church strengthened our friendship" (Hinton 102).

While Johnny and Ponyboy were hiding out in Windrixville, they became close friends. They shared several moments while reading Gone With the Wind and watching the sunset.

Loyalty: In Chapter 5, Johnny and Ponyboy are hiding out in the abandoned church reading Gone With the Wind. Johnny mentions that the Southern gentlemen impressed him and reminded him of Dally. Ponyboy is startled because Dally lacks manners. Johnny says,

"but one night I saw Dally gettin' picked up by the fuzz, and he kept real cool and calm the whole time. They was gettin' him for breakin' out the windows in the school building, and it was Two-Bit who did that. And Dally knew it. But he just took the sentence without battin' an eye or even denyin' it. That's gallant" (Hinton 65).

Dally's decision to stick up for his friend and take the blame for something he didn't do portrays his loyalty.

Bravery: While Ponyboy is riding in the back of the ambulance after rescuing several children from the burning church, Jerry says to him,

"I swear, you three are the bravest kids I've seen in a long time. First you and the black haired kid climbing in that window, and then the tough-looking kid going back in to save him. Mrs. O'Briant and I think you were sent straight from heaven" (Hinton 81).

Ponyboy and Johnny were brave for risking their lives to save the trapped children, and Jerry recognizes and appreciates their courage.

Heroes: When Ponyboy finally understands Johnny's "hero-worship" for Dally, he begins to think of Sodapop, Two-Bit, and Darry. Pony says,

"But I realized that these three appealed to me because they were like the heroes in the novels I read" (Hinton 66).

In Ponyboy's eyes, all three boys have unique character traits like the heroes he read about.

After reading the newspaper headline that dubbed Johnny and Ponyboy "heroes," Two-Bit comments,

"Y'all were heroes from the beginning. You just didn't 'turn' all of a sudden" (Hinton 90).

Two-Bit realizes that both of his friends had already been heroes for helping each other out, surviving tough times, and overcoming many obstacles.

What is the satire in book 4 of Gulliver's Travels?

In book four, Gulliver meets the Houyhnhmns, a race of very rational horses, as well as the Yahoos, humanoid animals that satirize the very worst aspects of the human race.  The Yahoos are personally foul, unclothed and uncouth, defecating on Gulliver from trees when they first see him.  They violently fight all the time, over insignificant disputes or items.  They are greedy and covetous, doing whatever they can to acquire, even killing one another for...

In book four, Gulliver meets the Houyhnhmns, a race of very rational horses, as well as the Yahoos, humanoid animals that satirize the very worst aspects of the human race.  The Yahoos are personally foul, unclothed and uncouth, defecating on Gulliver from trees when they first see him.  They violently fight all the time, over insignificant disputes or items.  They are greedy and covetous, doing whatever they can to acquire, even killing one another for some small, meaningless object because it is shiny.  Even when they have plenty to share, more than they can possibly need, they still selfishly fight over it and take as much as they can.  The females are also sexually licentious, and one even tries to force herself onto Gulliver when she finds him bathing.  In short, they are morally reprehensible and disgusting in every way, and they are meant to point out our own very worst faults: our greed and selfishness, as well as our violence and lack of concern for one another.

How is Mayella Ewell in To Kill A Mockingbird voiceless? What are examples of this voicelessness?

Mayella Ewell is a complex character in many ways. On the one hand, most readers are rightly frustrated with her for falsely representing the truth and playing a large part in condemning Tom Robinson to death. However, it's also apparent that Mayella leads a hard, desolate life devoid of autonomy, dignity, and a voice. Examples of Mayella's voicelessness come out clearly in the trial, as is evidenced by this passage from Chapter 18:

"Did you...

Mayella Ewell is a complex character in many ways. On the one hand, most readers are rightly frustrated with her for falsely representing the truth and playing a large part in condemning Tom Robinson to death. However, it's also apparent that Mayella leads a hard, desolate life devoid of autonomy, dignity, and a voice. Examples of Mayella's voicelessness come out clearly in the trial, as is evidenced by this passage from Chapter 18:

"Did you scream first at your father instead of at Tom Robinson? Was that it?"

No answer.

"Who beat you up? Tom Robinson or your father?"

No answer. (190)

In this section, Atticus tries to get Mayella to admit to the truth of what happened. However, Mayella either cannot or will not answer. Her silence is puzzling until we consider the deeper facts of her character: as a member of one of the poorest families in Maycomb, Mayella is isolated because of her class and is looked down on by other, more prosperous members of the community. Additionally, as a woman, she is vulnerable to being abused by her alcoholic father (and indeed, it seems like she is abused fairly regularly). As such, it's hardly surprising that Mayella is unable to admit to the truth. She's already reviled by everyone in town, and she has no one kind to turn to. Therefore, Mayella is effectively voiceless, as she cannot freely speak her mind or express the truth as she would probably like to, as she risks damaging her already tarnished reputation. This fact doesn't make her actions any more palatable, but it does make it easier to understand her a little better.

What were the perceived benefits of communism in Russia during the 20th century?

The Communist life was supposed to be better for Russians during the twentieth century.  The Communists promised to take Russia out of WWI no matter the cost.  WWI had gone terribly for Russia due to incompetent leadership and supply issues; any leadership that would take Russia out of this disaster clearly would have many people's approval.  

The Communists also promised increased productivity.  The rich were branded as enemies of the people as they were...

The Communist life was supposed to be better for Russians during the twentieth century.  The Communists promised to take Russia out of WWI no matter the cost.  WWI had gone terribly for Russia due to incompetent leadership and supply issues; any leadership that would take Russia out of this disaster clearly would have many people's approval.  

The Communists also promised increased productivity.  The rich were branded as enemies of the people as they were blamed for the nation's problems.  Life in the countryside had long been unsettled since the freeing of the serfs in 1867; while they were free, many could not afford land and lived a very meager existence.  The Soviets collectivized the farms forcefully and executed many farmers as "rich" kulaks.  The government in Moscow also exported food in order to demonstrate the success of the Soviet agricultural system.  Soviet productivity quotas in agriculture were often unrealistic and led to the starvation of many who worked the farms.  This same productivity model was also applied to factory workers, often leading to corruption in government and shoddy work standards.  

The Communists' chief promise was to alleviate poverty by getting rid of the "enemies of the people" such as the church and business leaders who had been "using" the Russian people.  By putting the state in charge of production and wealth distribution, the goal was that all Russians could have an improved standard of living.  This would not be the case, though Soviet propaganda films always showed smiling, strong Russians who were happy to live under Communist rule.  The reality was often that the average Russian worked long hours for minimal benefit.  

What is the moral in "Soldier's Home" by Ernest Hemingway ?

The moral, as I see it, in the short story "Soldier's Home" by Ernest Hemingway is the toll that war does take on men and women, even if they believe that they have been unscathed by serving their country overseas. Therefore, the moral of this story is that war has personal consequences beyond the national consequences that result from armed conflict between countries.

Consider that the townsfolk in his (Krebs) home town in Oklahoma feel that Krebs returned home too late – well after other soldiers returned home. He is looked down at somewhat because of this. This is the first toll that war has taken on him. This is evidenced in this line from the beginning of the story:

“People seemed to think it was rather ridiculous for Krebs to be getting back

so late, years after the war was over.”

In addition, Krebs wants to talk about the war and his experiences, but, now, no one wants to listen to him. As a result, Krebs bottled up his stories about the war and this caused inner turmoil in him – another consequence of the war as pertains to his life.

Furthermore, when he eventually decided to speak up about his war experiences, he actually didn’t speak about his experiences. He chose to lie and make up stories or speak about what others saw and/or experienced. Knowing that he was actually doing this quite regularly became distasteful to him and ate away at him as he knew he was doing wrong. Consequently, this is a third consequence of war in the life of this particular soldier.

Moreover, Krebs became numb so-to-speak. War caused him to be unambitious, drifting through his days and not having positive goals to strive for. He did not really want to put forth the effort to engage with females and form a relationship that could lead to marriage, possibly, one day. Additionally, Krebs harbored inner resentment toward his mother and father. In essence, he was, internally, mean-spirited towards them. One day, this mean-spiritedness came out against his mother.

Therefore, we see that a soldier returning home is not always a positive experience. War changes people; war hurts individuals in different ways. Those who have never experienced the battlefield cannot know, exactly, what soldiers have gone through. A war can continue in one’s life well beyond the actual conflict – when a soldier returns home and cannot assimilate him or herself back into their former life.

What can one learn about the appropriate limits of ensuring equality from reading Kurt Vonnegut's "Harrison Bergeron"?

Before discussing the idea of "equality" in Kurt Vonnegut's "Harrison Bergeron," I think it's important to establish what type of "equality" he is writing about. Although the story was published in 1961, a year in which African Americans and their allies were fighting to achieve equal rights under the law, Vonnegut is really discussing ability and the tendency to reduce ourselves in order to ensure others feel okay. This is obvious due to the fact...

Before discussing the idea of "equality" in Kurt Vonnegut's "Harrison Bergeron," I think it's important to establish what type of "equality" he is writing about. Although the story was published in 1961, a year in which African Americans and their allies were fighting to achieve equal rights under the law, Vonnegut is really discussing ability and the tendency to reduce ourselves in order to ensure others feel okay. This is obvious due to the fact that there is no discussion of race or gender in the story, but rather a discussion of ability. The handicaps are meant to make those who are great equal to those who are at the bottom in regards of a specific talent or ability.

In this story, Vonnegut clearly intends to show that no matter how much society or the government aims to suppress someone's ability and uniqueness, that ability and uniqueness always has the potential to reach the forefront. There are several examples of this in the story, but for me, the most persuasive of these is the ballerina who reads the news. Despite the handicapper general's requirement that she wear a "hideous" mask, it was clear to the viewers that "[s]he must have been extraordinarily beautiful." In addition, her voice was "a warm, luminous, timeless melody." All attempts to mask these traits ultimately fail because the viewer still recognizes exceptionalism.

This is Vonnegut's point in this story. Society and the government can attempt to make sure no one is extraordinary, but no matter how hard they try, the exceptionalism of certain individuals' abilities or traits is impossible to mask.

Are there any eyewitness descriptions of the physical appearance of Jesus?

Unfortunately for many theologians, historians, and artists alike, we don't have many descriptions of what Jesus of Nazareth looked like. The descriptions we do have (in Scripture) are quite vague and tells us more about the metaphorical value of his appearance than what Jesus may have actually looked like.

There are a few descriptions of Jesus' physical form in the Bible. For example, in the passages of Isaiah, Jesus is described as being a...

Unfortunately for many theologians, historians, and artists alike, we don't have many descriptions of what Jesus of Nazareth looked like. The descriptions we do have (in Scripture) are quite vague and tells us more about the metaphorical value of his appearance than what Jesus may have actually looked like.

There are a few descriptions of Jesus' physical form in the Bible. For example, in the passages of Isaiah, Jesus is described as being a fairly ordinary looking man. At least, he was not beautiful or especially attractive in a way that drew a lot of attention to him. While this doesn't offer us many concrete details about the appearance of Jesus--only that he looked like a typical Galilean--it does give us a chance for interpretation. Why might it have been important for Jesus to look like any other "Average Joe?" It emphasizes his humanness and makes him more relatable across space and throughout time.

In the book of Revelations, Jesus is described in the form he attained after rising from the dead. He is described as having white hair and that his feet and eyes were glowing like fire. The rest of the description deals with his adornment.

This article from the BBC explores some questions about what was likely to have been or not been a part of Jesus' appearance based on his actions. For example, would it have been practical for a carpenter to keep his hair so long? They also include a photo of the facial reconstruction of a skull found from about the time and place Jesus lived. 

What are some primary sources on the Vikings?

The word “Viking” refers to Norse merchants, raiders, and societies that flourished between the 8th and 11th centuries (the Viking Age). As such, the modern nations of Sweden, Denmark, Norway, and Iceland have their origins in the Viking Age, and other areas of Europe that were controlled or contacted by the Norse during this time hold varying degrees of Viking influence. Unfortunately, the Vikings did not have a strong written tradition, and much literary information...

The word “Viking” refers to Norse merchants, raiders, and societies that flourished between the 8th and 11th centuries (the Viking Age). As such, the modern nations of Sweden, Denmark, Norway, and Iceland have their origins in the Viking Age, and other areas of Europe that were controlled or contacted by the Norse during this time hold varying degrees of Viking influence. Unfortunately, the Vikings did not have a strong written tradition, and much literary information about them comes from later Norse societies or from other Europeans who studied them or were impacted by them.

Runestones

When they did write, the Vikings wrote in runes, a type of alphabet related to but distinct from the Latin alphabet. Most extant runestones can be dated to the Viking Age and were written by Vikings to mark territory, to describe important events, or as monuments to the dead. These are the best primary sources that come directly from the Vikings themselves, although there aren’t many of them and the runic inscriptions are usually brief; nevertheless, they provide contemporary information about historical figures and events. For example, the Jelling runestones give information the historical kings Gorm and Harald Bluetooth.

Sagas

The sagas, heroic stories about kings, gods, and history, were written in Iceland, a post-Viking society, in the centuries following the Viking Age. While they do not date to the Vikings themselves, they were written by the early descendants of the Vikings. Their historical accuracy notwithstanding, the sagas provide important near-contemporary information on the structure of Viking society and daily life, as well as historical or semi-historical figures through genealogies and family history.

Gesta Danorum

The Gesta Danorum (“Deeds of the Danes”) is a Latin work written in the 13th Century by the Dane Saxo Grammaticus. It is intended to be a history of the Danish people, one of the societies to be born out of the Viking Age. Similar to the Icelandic Sagas, the Gesta Danorum was written not by members of the Viking Age but by their close descendants. Unlike the sagas, the Gesta Danorum is a single work meant to be a unified history of the Danish people. It begins solidly in the realm of mythology, before tracing events and kings into the realm of verifiable history.

In To Kill a Mockingbird, why doesn't Atticus help carry Miss Maudie's furniture out of her house?

At first, Atticus helps the other neighborhood men to carry Miss Maudie's furniture out of her burning house.  As the flames devour the structure, "the men of Maycomb, in all degrees of dress and undress, [take] furniture from Miss Maudie's house to a yard across the street" (To Kill a Mockingbird, Chapter 8).  Though Miss Maudie prefers her flowers and plants to her house and furniture, she does value some things inside.  One...

At first, Atticus helps the other neighborhood men to carry Miss Maudie's furniture out of her burning house.  As the flames devour the structure, "the men of Maycomb, in all degrees of dress and undress, [take] furniture from Miss Maudie's house to a yard across the street" (To Kill a Mockingbird, Chapter 8).  Though Miss Maudie prefers her flowers and plants to her house and furniture, she does value some things inside.  One of those things is her oak rocking chair.  Though it is a heavy piece of furniture, Atticus carries it outside and into the yard.

Other men are working inside the burning house to rescue furniture when they are advised to leave.  The staircase is collapsing from the fire, and it becomes too dangerous to save any more furniture.  Mr. Avery barely escapes from the second floor.  Soon, the fire consumes the second floor and reaches the roof.  Atticus and the other men stop rescuing furniture because it is too dangerous.

Discuss what "materialistic culture" means in "Winter Dreams."

In "Winter Dreams," "materialistic culture" refers to an excessive attention paid to objects at the cost of emotional depth.

The allure of a materialistic culture impacts Dexter and Judy. Dexter is described as one who covets "glittering things" and seeks "out for the best without knowing why he wanted it." Dexter's obsession with a materialist culture is seen in how he is not really in control of his desire for objects. It is a setting...

In "Winter Dreams," "materialistic culture" refers to an excessive attention paid to objects at the cost of emotional depth.

The allure of a materialistic culture impacts Dexter and Judy. Dexter is described as one who covets "glittering things" and seeks "out for the best without knowing why he wanted it." Dexter's obsession with a materialist culture is seen in how he is not really in control of his desire for objects. It is a setting where the consumption of "things" is prized above all. His pursuit of "things" comes at the cost of emotional connection. This can be seen in how he does not acknowledge the pain he causes Irene and her parents when he breaks off their engagement because of his pursuit of Judy Jones. When Fitzgerald writes that there is "nothing pictorial" about Irene's grief, it reflects how a culture of materialism has supplanted Dexter's emotional frame of reference.

Materialism becomes the reason Dexter pursues Judy. In Dexter's mind, Judy represents the most glittering of "glittering things." His attempts to woo her are rooted in materialism. Dexter knows that she will be impressed with his statement that he is "probably making more money" than any other man in the region. A culture of materialism where one's value is strictly determined by wealth and its trappings is a significant part of Dexter's romance of Judy.

When Judy directly asks Dexter if he is poor, it is a reflection of how a materialist culture impacts her as well. Judy might be able to love men who were "as poor as a church mouse," but the reality is that she likes wealth. Judy wants to be seen with wealthy men and lives for an image that emphasizes wealth over all else. As a result, she is incapable of sustaining real emotional exchanges with anyone. Fitzgerald shows how a materialist culture can impact the way an individual perceives themselves and their world. Judy's embrace of a materialist culture translates to a failure to recognize that which is permanent and lasting.

Discuss how precious was the Philippines in the expansionist philosophy of the United States?

By the end of the 1800s, the United States was looking to expand its influence beyond its borders. We wanted to take the concept of Manifest Destiny and expand it throughout the world. To do this, we needed to get colonies. As a result of the Spanish-American War, we were able to get colonies from the lands we received from Spain.

The United States understood the importance of having colonies throughout the world. Alfred Mahan...

By the end of the 1800s, the United States was looking to expand its influence beyond its borders. We wanted to take the concept of Manifest Destiny and expand it throughout the world. To do this, we needed to get colonies. As a result of the Spanish-American War, we were able to get colonies from the lands we received from Spain.

The United States understood the importance of having colonies throughout the world. Alfred Mahan wrote a book called The Influence of Sea Power Upon History: 1660-1783. In this book, Mahan explained how countries that are world power must be able to protect its merchant marine and its trade. In order to be a world power, we knew we needed to have colonies in both the Atlantic and Pacific regions. Gaining control of the Philippines and of Guam as a result of the Spanish-American gave us a military presence in the Pacific Ocean. We could use these places as bases where our military could dock and could be stationed. If a war occurred, we could use these islands as military bases for fighting any war in the region. Our merchant marine could also resupply and refuel at our bases in the Philippines and in Guam. By controlling these places, we could also trade with them. We would benefit economically and militarily by establishing control in this region.

If we didn’t have a military presence in the Pacific region, it would have been very difficult for us to achieve our goals of Manifest Destiny. Gaining control of the Philippines and of Guam gave us the opportunity to expand and to become a world power around 1900.

What is the main climax?

Since the central conflict of the story is Isabel and Ruth working against the society they live in (which sanctions their enslavement) and fighting against the various specific people who keep them enslaved, the climax is when this conflict is at its tipping point. That is, the moment where Isabel could break free and escape her mistress or where she could be caught and punished for the attempts. Typically, the climax of a story is...

Since the central conflict of the story is Isabel and Ruth working against the society they live in (which sanctions their enslavement) and fighting against the various specific people who keep them enslaved, the climax is when this conflict is at its tipping point. That is, the moment where Isabel could break free and escape her mistress or where she could be caught and punished for the attempts. Typically, the climax of a story is also the most exciting part of the story as well. 

In Chains, this occurs when Isabel decides to stop waiting for the people who have said they will help her to follow through and to find freedom for herself. She steals a pass for Lockton in order to prove she is a freed slave and also decides to break Curzon out of prison to accompany her on her bid for freedom, by pretending he has died inside. This action happens in Chapters 43 and 44 of the novel, on Saturday, January 18, 1777. 

You might also include Isabel's fight with Madam, which occurs right before her escape, as a part of the climax. Since it is a moment of great conflict and excitement, I would include it as well. 

Why does Gatsby show Daisy all of his shirts? How does Daisy react and why?

This iconic scene is one of the most memorable ones in the novel. Gatsby takes advantage of Daisy being in his dressing area to show her his vast assortment of finely-made shirts. He casually mentions they are bought for him in England. He tosses them, along with many silk ties, into the air, and Daisy is overwhelmed by their quality and also by the realization that Gatsby is wealthy. She refused to accept his marriage...

This iconic scene is one of the most memorable ones in the novel. Gatsby takes advantage of Daisy being in his dressing area to show her his vast assortment of finely-made shirts. He casually mentions they are bought for him in England. He tosses them, along with many silk ties, into the air, and Daisy is overwhelmed by their quality and also by the realization that Gatsby is wealthy. She refused to accept his marriage proposal when she was younger because Gatsby had nothing; and now he has immense wealth. She sobs when she comments on how beautiful the shirts are, saying she's never seen such beautiful shirts before. She is mourning her bad decision and, perhaps, her lost youth and missed opportunities.

It is somewhat cold-hearted of Gatsby to remind her of what she rejected; and knowing Daisy's love of fine clothing and luxury, he very likely knows the impact his actions will have. But like many of the things he does when Daisy becomes part of his life again after so many years, he carefully calculates the effect of his actions in order to win her over. Gatsby is trying to seduce Daisy and prove to her that his determination to become a rich man had to do with winning her love. He is successful, because Daisy has an extramarital affair with him, even though it eventually becomes clear she won't leave her husband. Gatsby's selfish desire to steal Daisy from her husband is matched by Daisy's selfish refusal to uproot her life to be with Gatsby.