We have a Bartleby the Scrivener, A Tale of Wall Street tutor online right now to help you!
To chat with a tutor, please set up a tutoring profile by creating an account and setting up a payment method. If you initiate a chat, please note you will be charged $0.50 a minute for tutoring time.
At the beginning of Chapter 15, Sheriff Tate and several community members visit Atticus' house to discuss moving Tom Robinson to the Maycomb jailhouse. Heck Tate comments that he doesn't think that anything bad will happen, but cannot guarantee it. Atticus dismisses the possibility of any trouble, but Link Deas mentions that people are worried about the Old Sarum bunch. Old Sarum is the name of the northern region of the county where the Cunninghams live. The Cunninghams are notorious drinkers, and earlier in the novel, Scout mentions that they did little, but just enough to be talked about throughout town. One of the men in the group standing outside of Atticus' yard says that this is a special occasion, which suggests that the Cunninghams will be up to no good. Although Heck Tate does not directly express his opinions about the Cunninghams, he is concerned enough about their behavior to warn Atticus. One can assume that Heck does not view the Cunninghams favorably because he understands that they are a nuisance throughout the community.
Edward P. Jones’ historical novel The Known World tackles themes about what constitutes our physical and metaphysical knowledge of the world. Is the known world an objective place, essentially “what you see is what you get,” or are there hidden elements that become visible only when the past, present, and future collide? Jones explores this idea in Calvin Townsend’s letter to his sister Caldonia in the novel’s denouement. Calvin describes two paintings by one of their family’s former slaves. The first painting is a realistic landscape of Townsend County (Calvin and Caledonia’s childhood home) and the second painting contains the Townsend’s slave quarters with images of living slaves as well as slaves who passed away. This God's eye view painting leaves Calvin with the impression that the artist was “soft in the head.” (385)
It seems that the world Calvin charts in his letter is the world as he sees it, the more realistic (and less painful) first landscape painting. The second painting, which melds past and present into one singular moment, provides an accurate history of who inhabited his family’s slave quarters. Calvin charts the first world in an attempt to understand God’s plan, but he ultimately concludes that understanding the known world is a futile quest. Calvin seems to believe that only God can grasp the true objective nature of the world He created.
The first two stanzas are powerful because of their rich, luxuriant imagery, describing autumn's bounty in ways we can see, smell and sense. Autumn is depicted or personified as a human being who "conspires" with the sun to produce a growing bounty of food. Keats, in this stanza, emphasizes autumn not as a period of loss or decline but instead focuses on the abundance of the harvest, using powerful descriptive language:
To bend with apples the moss’d cottage-trees,
And fill all fruit with ripeness to the core; To swell the gourd, and plump the hazel shells
To swell the gourd, and plump the hazel shells
We can visualize this scene: apple trees by a cottage, moss around their trunks, their branches bending towards earth under the weight of so many apples. We can see the gourd and the hazel nuts. The stanza moves slowly, encouraging us to slow down too and dwell on the language, which builds its rhythm through devices such as alliteration or using words that start with the same letter, such as "mists," "mellow," and "maturing."
In the second stanza, Keats continues the rich descriptive imagery, here introducing smells: "the fume of poppies" and a sense that all this abundance makes Autumn drowsy, like a person who has just eaten a big feast. In this stanza we also feel the slow rhythms of Autumn, weighted down by its abundance. Now we are getting a sense of the slowing pace of the season. Autumn watches the "last oozings, hours by hours" of the cider press.
Keats loved to celebrate beauty, and does so here, capturing the slow, rich abundance of fall.
Odysseus makes a few important choices in these books. Let us look at a few of them.
Book 13 marks his return to Ithaca. Here, he encounters Athena in the disguise of a shepherd's boy. Together, they devise a plan for his return to his court. He decides to disguise himself in order to test his wife, Penelope, as well as his subjects. He could, of course, have returned and declared himself without any disguise.
In Book 16, Odysseus (whose identity is by now known only to the swineherd Eumaeus) cannot stop himself from rebuking his son, Telemachus (who doesn't not recognize his father) when Telemachus expresses doubts about his mother's fidelity. In so doing, he nearly makes his identity known to Telemachus. He could have restrained himself. Eventually, because of Athena's intervention, he decides to make his true identity known to Telemachus.
Books 17-20 form the climax of the epic. In Book 18 he decides to return to court in the disguise of a hapless old beggar. He begs from Penelope's suitors, thereby exposing their characters. Again, he could have decided otherwise. He has good reasons, however, for making himself known only gradually. He then decides to challenge the real beggar, and chooses only to break his jaw instead of killing him.
In Book 19, he decides to remind Penelope of shared memories while at the same time keeping up his disguise. He need not have tested her in this way, but he seems to deem it necessary.
Metaphysical poetry usually attempts to discuss the abstract in concrete ways. Basically, it attempts to explain the unexplainable. That is why so many metaphysical poems focus squarely on things like love, religion, and God.
Another key characteristic of metaphysical poetry is their use of conceits. A conceit is an analogy, because it compares two things. However, a conceit is unlike a metaphor because a conceit is more strained. The comparison is not immediately obvious or simple. For example, Andrew Marvell wrote a poem in which he compares the soul to a drop of dew.
A third characteristic of metaphysical poetry is that they often contain large amounts of wit. Although the authors deal with serious topics, the poems are not without humor. Readers can often find various paradoxes and puns throughout the poems, which both function to lighten the overall mood of a metaphysical poem.
Money is a medium of exchange for products and services. There are at least three characteristics of money that must be present in order for money to be used by people in a society. One characteristic is that money must be accepted as a medium of exchange. This may be problematic with the LeBron James jersey. Another consideration with this concept is that a person must have confidence in the value of money. A LeBron James jersey might be valued by a sports fan or by a memorabilia collector. However, a person who isn’t interested in sports may have no interest in his jersey. Therefore, it may not be accepted in exchange for products and services.
The second characteristic of money is that is must be convenient. If something is hard to carry around, it isn’t convenient to use. The LeBron James jersey certainly wouldn’t be convenient to carry and therefore wouldn’t be an acceptable form of money.
The third characteristic of money is that it must be durable. It needs to be able to change hands often without wearing out or falling apart. The jersey might fit this description.
Thus, the jersey fails to be meet all of the characteristics of money. If all of the characteristics aren’t present, then the money won’t be accepted and won't be useful.
