What does Vera in "The Open Window" make Frampton believe about her aunt? What does Vera explain to her aunt about Frampton?

First, Vera makes sure that Framton Nuttel knows nothing about her aunt. After confirming this, she knows that she can tell him anything because he only knows her name and address. Vera draws Framton in by telling him that her aunt experienced a tragedy three years ago. This would have occurred after Framton's sister had already left. Vera then tells Framton that her aunt's husband, two brothers, and their spaniel went snipe-hunting three years ago and never returned. They were engulfed in a bog (a swampy quicksand) and their bodies were never recovered. Vera claims that, to this day, her aunt keeps the window open with the futile hope that they will return. 

Vera is lying of course and when they do return, the already nervous Framton runs away. Vera resumes lying and tells her aunt that Framton was once hunted by a pack of wild dogs near the Ganges. He was chased into a cemetery and forced to sit in a freshly dug grave to wait them out. Vera concludes that, because of this experience, Framton must have been frightened by Mr. Sappleton's spaniel when they returned from hunting. 

Compare and contrast indentured servants and slaves in US History.

There were some similarities and some differences between slaves and indentured servants. One similarity is that both groups had to work for another person. As a result, their owners determined how good or how bad their working conditions would be. Both slaves and indentured servants got their basic needs covered. Their owners provided them with food and shelter. They often worked in the fields of their owner.

There were some differences between a slave and an indentured servant. An indentured servant signed a contract for a specific period of time. In return for getting transportation to the colonies, the person agreed to work for that individual for a specific period of time. After the contract was completed, the indentured servant was freed and was paid a bonus that was agreed to when the contract was signed. Slaves were slaves forever. There was no contract, and there was no end date of being a slave. Thus, the indentured servant had something to look forward to after the contract was completed. The slave would remain a slave forever.

There were some similarities and some differences between indentured servants and slaves.

Who may have murdered Sam Westing in The Westing Game?

No one murdered Sam Westing because he isn’t dead, but all of the residents of Sunset Towers are suspects. 

The Sunset Towers apartment building was specifically designed for a select group of people who had a special connection to Sam Westing.  Technically, they are all suspects at one time or another.  This is why they are chosen to live there and to participate in the Westing Game.  However, it turns out that Westing has been alive and watching them under various aliases all along. 

Westing was a paper products tycoon who made a lot of money and then disappeared. No one has seen him in years, and until the heirs moved into Sunset Towers, the Westing mansion was empty.  You can see the Westing mansion from the apartment building, and one day there was smoke coming from the chimney. 

Westing specifies in his will that he was murdered. 

I, Samuel W. Westing, hereby swear that I did not die of natural causes. My life was taken from me—by one of you!

The police are helpless. The culprit is far too cunning to be apprehended for this dastardly deed. (Ch. 6) 

This pronouncement is obviously intended to pit the heirs against each other and make them suspicious of one another. The heirs are not sure what the purpose of gathering them together is.  They realize they all have a connection to Sam Westing in some way.  When the will is read, they are paired off to participate in a game to win his inheritance.  However, most of them still think that he was murdered. 

“Murder? Does that mean Westing was murdered?” Sandy asked the heir on his left.

Crow turned away in silence.

“Does that mean murder?” he asked the heir on his right.

“Murder? Of course it means murder. Sam Westing was murdered,” Mr. Hoo replied. … (Ch. 6) 

A lot of them have motive.  Crow is Westing's ex-wife, and she definitely has bad blood with him because they divorced after their daughter died the night before her wedding.  Mr. Hoo sued Westing, claiming he stole his invention.  The others could easily just want to kill him for his money.  Someone has been stealing, and bombs keep going off.

It is actually the youngest player in the game who figures out that Sam Westing has been there all along.  He has masqueraded as Barney Northrup, Sandy McSouthers, and Julian R. Eastman.  This way, he could keep an eye on his game.  Turtle discovers the truth, and wins the game.  They become good friends.  Sam Westing later dies of natural causes.

How does Ars Poetica/On the Art of Poetry by Horace contribute to our knowledge of the drama and dramatical conventions of his age?

Horace’s Ars Poetica, composed around 15 B.C.E., guides potential poets in developing their art, and thereby reveals several conventions of favorable Roman poetry. It’s important to note that “poetry” here includes Roman drama.

First, he states that the aim of poetry should be to simultaneously delight and instruct its audience: “He who joins the instructive with the agreeable, carries off every vote, by delighting and at the same time admonishing the reader.” Here, Horace reveals that Roman poetry was valued by how well it merged aesthetic qualities with useful or practical insights. In Latin, these aims are dolce, or delight, and utile, or utility.

Next, Horace advises that poetry shouldn’t be protracted, but instead, concise. He reasons, “All superfluous instructions flow from the too full memory.” Whatever can’t be remembered isn’t useful; a poem or dramatic work should then be easy to recollect, and not be too excessive in length.

Finally, Horace insists that poetry should be harmonious, or possess a certain musical quality. At several points he instructs the reader in the use of stressed and unstressed syllables, and claims that one can always look to Homer for perfect examples of harmonious verse.

How could I formulate a thesis for an essay on Ray Bradbury's Fahrenheit 451? My topic is censorship. I want to talk about Beatty's role in...

It seems like you are showing how each of these three characters reacts to censorship. Being a fireman, Montag takes part in censoring (burning) books and literature. His wife, Mildred, is complicit with the idea of censorship. Therefore, she represents those in the population (perhaps the majority) who passively agree to live in this oppressive state. 

Clarisse, on the other hand, does not accept the status quo. She doesn't actively engage in a public or political revolution. But she does rebel in her own way. She questions things. She would rather have interesting conversation than watch the mind-numbing shows that Mildred loves so much. 

Later in the novel, Montag recalls a prior meeting with Faber. This may have been one of the first eyeopening moments for Montag. But he does not really start to question things until he meets Clarisse. His conversations with her spark an awakening in him. Perhaps, you might formulate a thesis about how Clarisse helps catalyze this awakening in Montag. Using all three characters in a statement, one might say: Ignoring censorship of thought, Clarisse awakens something in Montag that Montag tries but fails to awaken in Mildred. 

There are 70 m^3 of calcium hydroxide and a gas mixture that is 7% CO2. What volume of CO2 is needed to convert the calcium hydroxide to CaCO3?

Calcium hydroxide (Ca(OH)2) is converted to calcium carbonate (CaCO3) by treating it with carbon dioxide (CO2).  The equation is shown below:

Ca(OH)2 + CO2 --> CaCO3 + H2O

We have 70 m3 (cubic meters) of calcium hydroxide.  If we convert this to milliliters (also called cubic centimeters), then we can use the density of calcium hydroxide (2.211 g/mL) to find the mass in grams.

70 m3 * (1 x 10e6 mL / m3) * (2.211 g / mL) = 1.55 x 10e8 g Ca(OH)2

Now divide by the molecular weight of Ca(OH)2 to get the amount in moles.

1.55 x 10e8 g * (1 mole / 74.093 g) = 2,091,965.5 moles Ca(OH)2

We can see from the chemical equation above that one mole of CO2 will react with one mole of Ca(OH)2, so we will need the exact same number of moles of CO2.  The molar volume of any ideal gas is 22.414 L per mole, so we can use this as a conversion factor to convert the moles of CO2 into a volume in liters.

2,091,965.5 moles * (22.414 L / mole) = 46,889,314.7 L CO2

So that is the amount of pure CO2 gas needed for the reaction.  Since you stated that the gas on hand is 7% CO2, divide the volume by 0.07 to find the volume of that particular gas mixture required for the reaction.

46,889,314,7 L / 0.07 = 669,847,353.1 liters of gas

What are some good metaphors Ayi Kwei Armah uses in The Healers? I need some quotes that express metaphors throughout The Healers.

In his novel, Armah develops his vision of a return to the unified, united way of life of Africa's ancient times, before divisiveness engendered separate kingships and disunity. Armah sees the great ill of African peoples as disunity and, in The Healer, works out the prose of the novel through an extended metaphor of healing. Consequently the individual metaphors Armah uses in The Healer often employ the language of healing or of growing (Nwahunanya, "The Writer as Physician").

Armah's vision is an end to "division," the beginning of "seed time" and the future "harvest," with a restoration, as Khondlo Mtshali says, of "individual, social and divine purposes" ("Psychopathology and Healing"). Some individual metaphors from The Healer follow.

Damfo teaches Densu that there are "two forces, unity and division. The first creates. The second destroys; it's a disease, disintegration." This is a metaphorical statement of Armah's vision that disunity through division causes disintegration within individuals, societies and cultures.

Damfo says to Densu about Asamoa, who is serving the Asante royaly, that "royalty is part of the disease ... whoever serves royalty serves the disease" and that "kings and chiefs suck their power" from the divided people. Carrying the disease metaphor further, Armah compares ruling families to a symptom of disease by which he means that after division is driven in, individuals set themselves as kings because disunity and disintegration allows for the usurpation of authority. Obedience to these rulers furthers the disintegration. He also means that kings and chiefs have no innate power but that they dishonestly take power from weakened people who are disunified.

Ababio says to Densu "we shall be left by the roadside ... they will grind us ... [to be] less than grains of bad snuff...." The first metaphor compares the conquered people to something worthless left by the side of a road. It gives the picture of the African people as completely valueless and expendable. The subsequent metaphors compare the Asante, awaiting imminent defeat by the British, to grains being ground down to powder, and not to grains valuable for food but to grains of rotted ground tobacco, "grains of bad snuff."

Damfo says of the time ahead of them, "This is seed time, far from harvest time" and "In the future there will be the harvest." He means that with the departure of the British and with the unintentional congregation of African peoples in one spot--dancing a "new dance," each moving to the music in his own way--the renewal of unity and creation can begin; the reclaiming of the traditions of the people can begin. Yet the metaphorical "harvest," the sought after relationship with the way of the ancients, will be generations away.