What were the most important things about foreign policy and politics during the Expansion/Pre-Civil War (1829-1859) era?

This is a vast subject, one on which many books could and have been written.  I will only be able to give you the bare details in this space.

The most important political issue during this entire time was the issue of slavery and how far it would expand.  There was also the connected issue of states’ rights.  Practically all of the politics of the time centered around these issues.  Let us look at some of the major events that occurred during this time period that had to do with these issues.  They include:

• The Nullification Crisis of 1832-3.  This had to do with whether states could ignore laws made by the national government if they thought those laws were unconstitutional.  This was the first time a Southern state made serious moves towards seceding from the Union.


• The domestic conflict over the war with Mexico that started in 1846.  While the war itself was a foreign policy issue, there was great conflict over the meaning of that war in the US.  Anti-slavery people felt that the war was being fought to expand slavery.  A term to know here is Wilmot Proviso, which tried to stipulate that slavery would be barred from any land taken from Mexico.


• Compromise of 1850.  This was supposed to solve the problem of slavery in the Mexican Cession.  However, it enflamed tensions between the North and the South, largely because of the Fugitive Slave Act, which was part of the Compromise.


• Kansas-Nebraska Act of 1854, which threw out the Missouri Compromise and opened up the debate over slavery in the territories.


• The violence in “Bleeding Kansas” over the issue of slavery from 1856 to 1858.


• The Dred Scott decision of 1857, which said, among other things, that Congress could not regulate slavery in the territories.

These are the most important events that occurred during this time period with regard to the issue of slavery.  All of these episodes served to drive the North and the South further apart, making the Civil War more likely.

There was not that much going on in foreign policy during this time.  The two most important events were the war with Mexico and the deal with the United Kingdom with regard to the Oregon Territory.  The US and the British had jointly controlled the Oregon Territory since 1818.  They agreed to hold it jointly until they could agree to a boundary.  By the early 1840s, American migration to the Oregon Territory forced the two sides to try to agree on the boundary.  This brought some amount of conflict as some Americans wanted to fight unless Britain agreed to give the US the entire Oregon Territory.  This was eventually settled in 1846 with the two sides agreeing to a border at the 49th parallel.

The other major foreign policy issue was the dispute with Mexico.  This started when Texas, which was mainly populated by Americans, broke away from Mexico in 1836.  Texas asked to join the US, which Mexico strenuously opposed as it still refused to accept that Texas was independent.  This led to tension between Mexico and the US.  These tensions came to a head in 1845 when the US annexed Texas.  This led to war between the two countries in 1846.

These are the main issues in politics and foreign policy during this time.  However, please note that this is a terribly brief summary of what happened during a most eventful time in US history.

Compare Hamlet's soliloquy at the end of Act IV, Scene 4, with the one in Act II, Scene 2. Based on his sentiments and the themes in these two...

In Act 2, Scene 2, Hamlet passes severe judgment on himself. His harsh criticism stems from what he believes to be cowardice. Hamlet made a solemn promise to his father's ghost that he would avenge his father's death at the earliest opportunity. Some time has already passed, but Hamlet has failed to fulfill his pledge.

Hamlet uses harsh terms in his self-criticism, comparing himself to an actor who can so easily appear sorrowful and anxious by merely thinking about something of no real importance to him:

...this player here,
But in a fiction, in a dream of passion,
Could force his soul so to his own conceit
That from her working all his visage wann'd,
Tears in his eyes, distraction in's aspect,
A broken voice, and his whole function suiting
With forms to his conceit? and all for nothing!

Hamlet cannot summon up enough courage to take revenge, though.

...Yet I,
A dull and muddy-mettled rascal, peak,
Like John-a-dreams, unpregnant of my cause,
And can say nothing; no, not for a king,
Upon whose property and most dear life
A damn'd defeat was made.

Hamlet thinks he is not driven enough and resents his ineptitude at this characteristic. He acknowledges he has plenty of reasons to spur him on but lacks the courage to act. Hamlet questions his mettle and, through a series of rhetorical questions, damns himself as his own worst critic. He concedes that he should accept this cruel condemnation, however, since he is a coward who lacks the will to enact retribution. 

Hamlet passionately expresses his contempt for Claudius:

With this slave's offal: bloody, bawdy villain!
Remorseless, treacherous, lecherous, kindless villain!

His apostrophic cry to vengeance is an indication of the torment he is suffering and heightens his sense of incompetence. He calls himself a fool and repeats that he has ample reason to act, stating that he has both malice and goodness to prompt him. Hamlet compares himself to a whore who expresses her anger by swearing and ranting and raving, and to a lowly servant who curses her resentment.

At the end of his impassioned monologue, Hamlet decides to use the actors in a play which, he believes, should provoke a reaction from Claudius that proves his guilt. Hamlet believes the king's response will provide better grounds for his revenge than mere words would:

the play's the thing
Wherein I'll catch the conscience of the king.

Although Hamlet is still quite critical of himself in Act IV, Scene 4, he is less harsh. He repeats that he has more than enough reason to enact his vengeance, but alludes to his lack of intent. He compares himself to a beast that only sleeps and feeds. He admits that he is not quite sure why he has not acted on his vow yet. He contemplates whether it is because he is mostly a coward or because he seeks and thinks too much about a perfect moment in which to commit the deed.

At this point, Hamlet concedes that he has the means, strength and will to avenge his father's death. In this sense, Hamlet's conviction is far greater than it was in his earlier soliloquy. Hamlet compares his situation with that of prince Fortinbras, who came to claim a piece of useless Polish soil as a matter of honor.

Witness this army of such mass and charge
Led by a delicate and tender prince,
Whose spirit with divine ambition puff'd
Makes mouths at the invisible event,
Exposing what is mortal and unsure
To all that fortune, death and danger dare,
Even for an egg-shell.

In this comparison, Hamlet states that greatness is not determined by the size of an issue that one challenges, but by one's moral purpose—there is virtue in fighting for something as a matter of honor. In this, Hamlet sees himself as having greater purpose. Why, then, should he let "it sleep?" Hamlet feels ashamed that twenty thousand men will die fighting for a plot of land which is not large enough to bury them all. In a determined declaration, Hamlet states,

O, from this time forth,
My thoughts be bloody, or be nothing worth!

There is a clear contrast in Hamlet's opinion of himself between the two monologues. In the first, his self-denunciation is powerful and he lacks a clear resolve. It appears his only desire is to create a scenario in which to confirm his stepfather's guilt. Although he is still mildly critical of himself in the second monologue, Hamlet appears to be much more positive and to have finally made up his mind to kill Claudius.

How many planets have more moons than Jupiter?

Moons are the natural satellites of a planet. Among the 8 planets of our solar system, all of the planets except for Mercury and Venus have moons. Jupiter has the highest number of moons among all the planets of our solar system. It has a total of 67 moons, including 50 known (and confirmed) moons and 17 moons that are awaiting official confirmation. Saturn has the next highest number of moons and it has 62 moons, including 53 known moons and 9 moons that are yet to be confirmed. In comparison, our Earth has only 1 moon. Our neighbor Mars has 2 moons (Phobos and Deimos).

Thus, no planet in our solar system has more moons than Jupiter.

Some of the famous moons of Jupiter include Ganymede, Io, Europa, and Callisto.

`int_0^a (dx)/(a^2 + x^2)^(3/2) , a>0` Evaluate the integral

`int_0^adx/(a^2+x^2)^(3/2)`

Let's first evaluate the indefinite integral by integral substitution,

Let `x=atan(u)`

`dx=asec^2(u)du`

`intdx/(a^2+x^2)^(3/2)=int(asec^2(u)du)/(a^2+a^2tan^2(u))^(3/2)`

`=int(asec^2(u))/(a^2(1+tan^2(u)))^(3/2)du`

`=int(asec^2(u))/((a^2)^(3/2)(1+tan^2(u))^(3/2))du`

Use the identity:`1+tan^2(x)=sec^2(x)`

`=int(asec^2(u))/((a^3)(sec^2(u))^(3/2))du`

`=1/a^2int(sec^2(u))/(sec^3(u))du`

`=1/a^2int1/sec(u)du`

`=1/a^2intcos(u)du` 

`=1/a^2(sin(u))`

We have used `x=atan(u)`

`tan(u)=x/a`

Now let's find sin(u) for triangle with angle theta, opposite side as x and adjacent side as a and hypotenuse as h,

`h^2=x^2+a^2`

`h=sqrt(x^2+a^2)`

So, `sin(u)=x/sqrt(x^2+a^2)`

`=1/a^2(x/sqrt(x^2+a^2))`

Add a constant C to the solution.

`=1/a^2(x/sqrt(x^2+a^2))+C`

Now let's evaluate the definite integral,

`int_0^a(dx)/(a^2+x^2)^(3/2)=[1/a^2(x/sqrt(x^2+a^2))]_0^a`

`=[1/a^2(a/sqrt(a^2+a^2))]-[1/a^2(0/sqrt(0^2+a^2))]`

`=[1/(asqrt(2a^2))]-[0]`

`=(1/(a^2sqrt(2)))`

`=1/(sqrt(2)a^2)`

Consider the various types of love featured in The Merchant of Venice: friendship, love between father and child, romantic love, as well as love of...

This is an intriguing question to apply to this complex play. I think that the answer is somewhat complex as well: and that friendship and romantic love are the strongest forms of love in the play. This is revealed in the play's climax, wherein Shylock is readying to perform his own perverse form of justice upon Antonio (exacting his "pound of flesh"). Portia poses as a lawyer to try and defend Antonio, who is her lover Bassanio's best friend. It is love for Bassanio that prompts her to try and help his friend; but it is Bassanio's love for Antonio that inspires her to do what she does. 

Portia's famous speech in which she says "the quality of mercy is not strained" refers to compassion, a crucial component in any friendship. She admires Bassanio's noble qualities, and understands that a man worthy of being his closest friend would be a good friend to anyone. Her point that Shylock's contract does not allow for any drop of blood to be shed when he extracts his pound of flesh speaks to her compassionate nature as well: just as Shylock says, "Come, prepare!" (in some productions, Shylock raises a knife or sword at this moment) she stops him. She is visualizing the sight of Antonio under Shylock's weapon and knows there will be blood. In this visceral moment of pity and compassion, she gets the idea for how to save Antonio's life. Friendship between Antonio and Bassanio, and Portia's romantic love for Bassanio, are shown here to be the play's most significant forms of love.

What different kinds of sound effects can be identified in "Ex-Basketball Player" by John Updike?

John Updike's poem "Ex-Basketball Player" makes use of sound devices that echo the personality of Flick Webb, a failed athlete, who almost made basketball the success of his life. Some of these are internal rhyme, end words that almost rhyme, alliteration, consonance, and onomatopoeia.

In a sense, then, the character of Flick that almost became something is reflected by an internal balancing of sounds of the poem that is also "almost rhyme." For example, this occurs in line 10 of the second stanza with the /s/ [/ / =the "sound of"]: "One's nostrils are two S's, and his eyes." And, although the poem is written in free verse, there is a rhythm in the lines of the second stanza with the end words of each line that "almost rhyme": “pumps,” “style,” “low,” “eyes,” “type.” This rhythm occurs with the /y=i/, and this "almost  rhyme" occurs in several lines of the poem.

In addition to the "almost" internal and ending rhyming, there is the sound device of alliteration which speeds up the lines in another imitation of Flick. This time it is a mimicking of Flick's speed on the court. Some examples of this alliteration are the following:

"loose and low," "His hands," "Checks-changes," "Grease-gray," "plays pinball," "Necco...Nibs"

A further sound device occurs with Updike's use of parallel structure which serves to create the sound of dull routine in Flick's job:

                ...he just sells gas,
Checks oil, and changes flats

There is also some onomatopoeia: "dribbles" and lug."

Interestingly, the Welsh poet Dylan Thomas once remarked that a good poem

helps to change the shape and... to extend everyone's knowledge of himself and the world around him.

Certainly, Updike's simple poem about a former high-school basketball star extends the reader's knowledge of self and the importance of developing personal goals (to make a pun) and not just short-term ones.

Explain how Venice differs from Belmont in The Merchant Of Venice.

The two settings are direct contrasts of each other. Venice is filled with the hustle and bustle of life. It is a teeming town occupied by a variety of inhabitants. Since it is a trade centre, it is logical that it will be filled by many people from not only different walks of life but also a cornucopia of foreigners who practice a variety of customs, cultures, and religions. As such, it would obviously also have its fair share of disputes and clashes, as the one between Antonio and Shylock, who are in conflict with one another on a material and a spiritual level. 

Added to this, Venice is loud and boisterous because of the large numbers of people not only living in it but also occupying its streets and indulging in trade in its markets. We can also imagine it having large numbers of stray animals and vermin lurking around. Furthermore, it would also have a darker side, an underbelly where criminal and immoral elements conduct their sordid business. 

The dwellers of a city such as Venice would paradoxically feel both free and restricted. They would enjoy the freedom of contact with others and relish the pleasure of openly plying their art and their craft but they will be depressed by their living circumstances. They will feel stifled by the lack of space - signified by narrow streets and alleys and the lack of open, living space. Many will probably be claustrophobic about always being surrounded by buildings and a variety of people and activities. 

Belmont, on the other hand, is peaceful and serene. It is a beautiful island with lush scenery, isolated from the confusing volatility of a metropolis such as Venice. Life would obviously be much slower here and there would be greater opportunity to indulge in aesthetic activities at one's leisure. It is also here, we find, that issues are resolved and where lovers come to be together and not only declare their vows and be wed but to also consummate their commitment to one another. 

It is obvious that the squalor of urban life would be absent in such a beautiful place. The buildings and surrounding areas would epitomize beauty and be symbolic of grand ideals - a veritable Shangri-La. It is a place where dreams can and do become a reality, such as Bassanio's dream of marrying Portia, Nerissa's dream of wedding Lorenzo and it is the place where Gratiano finds love with Nerissa, Portia's best friend and attendant.

The play depicts these contrasts throughout and strikes a balance by intermittently shifting the action from one to the other. In Venice, when there is conflict, a solution is found in Belmont as with Antonio and Shylock's dispute and Lorenzo and Jessica's disputed affair. The main issue is ultimately resolved in Venice and is celebrated in Belmont. It is apt that cynicism and conflict find its origin in the city and its resolution in Belmont, once again emphasizing the contrast between the two. 

There are, however, some similarities in the two settings. Both Venice and Belmont are places in which we find a coming together of different cultures and persuasions. Portia's suitors come from a variety of different climes and cultures, just as the inhabitants of Venice do. In Belmont, though, this state of affairs is short-lived since the suitors all leave the island once their attempts at the casket lottery fail. When Bassanio eventually becomes the victor, such visits to Belmont obviously cease, whereas, in Venice, the ebb and flow of foreigners is permanent.