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In But, Not Buddy by Christopher Paul Curtis, what is the difference between Deza's family and Bud's family?

This is a fairly straightforward question and answer. The key difference between Deza Malone's family and Bud Caldwell's family is that Deza's parents are both still alive.

In addition to Deza having living parents, she still lives with her parents, too. They might all be in a shantytown together, but at least the family is still in tact. Contrast that with Bud's family. Bud has never known his father. The main plot of the book is Bud attempting to find his father. He never does, but he does find his grandfather. Bud's mother is no longer alive. She died several years before the book begins. Bud doesn't know why she died, but he does tell readers that she was sick for about six days before dying.

I said, "I was six years old when it happened, sir. "I don't know why, she was too sick to go to work for six days in a row, then one morning I went into her room and she was dead. But she didn't suffer or nothing, it happened real quick, she didn't even have time to close her eyes, she didn't look like it hurt or nothing."

Bud has been living in orphanages and foster homes ever since his mother died.

How can quotations support a structured analysis of a character in The Odyssey?

When you're analyzing a character, you end up having to use your own words to summarize and explain a lot about who this character is, what traits he or she has, how he or she changes, and so on.

Quotations help you prove that what you're saying is right. In other words, quotations help you point to the text and basically say "See this part right here? That's how I know for certain that I've interpreted this character correctly." The quotations you pick, then, can make your analysis clear, authoritative, and thorough.

To find good quotations to help you support your character analysis, you don't simply have to look for things the character says. You can also look for things the character does, things the character thinks, and things other people (including the narrator) say about the character.

Let's say you plan to write about Odysseus and want to structure your writing in one of these ways:

A discussion of his character traits, from least to most important

A discussion of his character traits, from least to most admirable

A discussion of how he responds to adversity, from the easiest situation to the hardest

A discussion of how he changes from the beginning to the end of the epic

Of course, those are just suggestions — there are many other ways you can structure your analysis.

Regardless, your analysis will probably be organized in paragraphs: say, one per trait, or one per adverse situation. If you're organizing your analysis based on how Odysseus changes, you might spend one paragraph on each major section of the story, such as the beginning, middle, and end.

If you can find one or more clear supporting quotations from the text to include in each of your paragraphs, they will help convince your reader that you based your analysis on a close, careful reading of the text.

Although you can get ideas for character traits to write about from an existing analysis of a character here , like for Odysseus or the other major characters from The Odyssey, or from other questions and discussions about a character, like , , and , you might enjoy yourself more (and write a more original, interesting analysis) if you start with the text itself. When you were reading it, what qualities of the character struck you as particularly interesting or surprising? As you read (or reread, or skim), highlight or copy and paste the quotations from the story that relate to your character and seem fascinating to you. These may be useful when you write your character analysis.

When it's time to add your quotations to your paragraphs, try using a variety of different ways to integrate the quoted content into your own:

Open a paragraph with a quotation, then discuss the trait it reveals about your character.

Discuss a character trait, adding a brief quotation to illustrate what you mean, then discuss what that quotation reveals, exactly, about your character.

Let some of your quotations stand by themselves in their own sentences, but try to include others within your sentences.

Discuss a character trait, then end the paragraph with a particularly dramatic quotation illustrating that trait.

Stack multiple, super-short quotations into a list. Example: "When Odysseus calls himself a 'sacker of cities,' a man with an 'ardent spirit' that can't be 'daunted,' he reveals his vanity."

Many students find it difficult to integrate quotes into their own sentences. Here are some sentence templates that can help:

A character has a certain trait: "a quotation that shows it." (Example: "Odysseus is boastful: 'Cyclops, if any man asks how you came by your blindness, say that Odysseus, sacker of cities, Laertes' son, a native of Ithaca, maimed you.'")

A character's trait, described by another character as "this," affects the story or the reader in a certain way.

A character’s trait, evinced by his or her “certain action” and his or her “certain other action,” affects the story or the reader in a certain way.

When a character thinks "a particular thought," he or she reveals a certain trait.

A character reveals his trait when he or she "says or thinks something in particular."

When a character claims/admits "this particular thing," it's clear he or she has a certain trait.

"This particular thing," in the character's own words, illustrates a certain trait.

The narrator's description of "his or her particular thing" illustrates a certain trait.

It’s clear that a character who “does or says this thing” must be a certain trait.

Faced with "a particular threat or situation," the character reacts in a certain way, "doing something," revealing his or her trait.

What line of reasoning is followed by the Prince of Arragon in making his choice of caskets?

Prince Aragon is a somewhat conceited character who thinks he is Portia's most suitable match for a husband. He does not choose the gold casket because he thinks there is some sort of trick behind the outward appearances, and it seems to him that gold must be the most obvious choice. He thinks gold is pleasing to "the multitude" who only choose things for show. He immediately dismisses the lead casket, because he is not...

The silver casket says that the one who chooses it will get what they deserve. Since he believes he is the most deserving of Portia's suitors, because he thinks he has so many fine qualities, he feels certain this is the right one. But the casket contains only a portrait of a blinking idiot. He learns that he is getting what he deserves and that he deserves this lesson in humility for thinking he deserved Portia's hand without first wooing her or being worthy of her. "Let none presume to wear an undeserved dignity" he says, but obviously his dignity is indeed undeserved.

Who is Jalaluddin Akbar?

Jalaluddin Mohammed Akbar was a Moghul emperor who was born in 1542 and died in 1605.He is also sometimes referred to as Akbar the Great in honor of both his conquests and his insight into relations between people of different religions. Oddly enough, despite his great success as a ruler, he was the only Moghul ruler who was illiterate. This was due to his refusal to be educated. Although he was not formally educated,...

Jalaluddin Mohammed Akbar was a Moghul emperor who was born in 1542 and died in 1605. He is also sometimes referred to as Akbar the Great in honor of both his conquests and his insight into relations between people of different religions. Oddly enough, despite his great success as a ruler, he was the only Moghul ruler who was illiterate. This was due to his refusal to be educated. Although he was not formally educated, he encouraged the education of others and supported the arts during his reign.

Akbar was thirteen years old when he became emperor, although he did not begin ruling personally until he was twenty years old. To secure other territories, he would often make marriage treaties with the raja of the territory that allow them to maintain the status of royalty if they were willing to acknowledge Akbar as the emperor. He also allowed the sons of the rajas to be educated in his court, many of whom went on to be ranked highly and/or become trusted advisers to Akbar despite the differences in religion. He was the first known Muslim ruler known to treat Hindu population as equals instead of subordinates and to create a separation between religion and state.

In contrast to this show of benevolence towards those who were willing to bend to his will, he was merciless towards those who opposed him. For example, in the territory of Mewar, after laying a successful siege to its main city, Akbar lead the slaughter of all of the known defenders of the city. The count of those slaughtered was thought to be more than thirty thousand. While he was willing to shed blood to prove his dominance, he also ordered that children and women should not be harmed because the actions of their fathers or husbands.

Jalaluddin Akbar made his mark on the Moghul empire in many ways. He used unconventional methods to successfully grown and maintain a large empire despite having little formal education and being made emperor at a young age.

In the novel "The Dispossessed" Anarresti culture sought to eliminate hierarchies within its society. To this end, Odo provided no formal/legal...

The relationship between Takver and Shevek, while not expressly forbidden by the Annarean government, is highly controversial. While Le Guin explains that Odo originally set up a society with no legal form of marriage in order to prevent Annares from becoming a hierarchy like Urras, this policy becomes limiting to the young couple. Shevek and Takver feel a deep bond and desire to share their lives with each other. In this sense, the monogamous relationship between Takver and Shevek fits in with the larger theme of the story. A lack of formal contracts and institutions in which two people effectively belong to one another is only freeing for the Annareans who have no desire to enter into such contracts. By contrast, Takver and Shevek find Annarean society highly restrictive.

More tension is created when Shevek is sent away on a lengthy tour of labor. Takver is also sent away to continue her work on addressing the problem of starvation on Annares. Because marriage is not an officially recognized institution, the Annarean government has no obligation to keep the spouses together. The tension can be further resolved into a coherent theme when contrasted with the opposing tensions Shevek experiences on Urras. While the Urrasti government permits marriage, its social institutions create great pressure to conform in a different way. "The Dispossessed" uses these tensions to illustrate how even restrictions created from the purest motives will have a negative impact on someone.

What is The Scarlet Pimpernel?

The Scarlet Pimpernel is the title of a historical novel by the prolific novelist and short story writer Baroness Emma Orczy (see reference link below). It is the first novel in a series of historical fiction which is set during the Reign of Terror at the time of the French Revolution. The Scarlet Pimpernel was first published in 1905. It features the daring exploits of an English gentleman who uses the alias of "The Scarlet Pimpernel." His real name is Sir Percy Blakeney. He poses as a fop and an idler, but in reality is devoting his time and resources to rescuing French aristocrats from the guillotine. The hero of the whole series of historical novels typically leaves his calling card behind after each of his successful exploits. The card simply bears a picture of the small red flower named "the scarlet pimpernel." No one is able to discover the true identity of the mysterious adventurer and brilliant swordsman who calls himself The Scarlet Pimpernel. The character became a favorite with Hollywood filmmakers. There were a dozen Scarlet Pimpernel movies made between 1917 and 1982. The best-known of these is The Scarlet Pimpernel (1934) starring Leslie Howard, an English actor who is now mainly remembered as one of the leading characters in the movie Gone With the Wind (1940). The 1934 film version of The Scarlet Pimpernel is available on DVD. A British television series titled The Scarlet Pimpernel was brought out in 1999. It is also available on DVD.

Who suspects Macbeth of the murders of Duncan and the guards?

Macduff suspects Macbeth of murdering Duncan and the guards. Macbeth very reluctantly accompanied Macduff and Lennox when they came to wake the King early in the morning. Macbeth was behaving in a weird manner because of his guilt, remorse, and dread of the uproar that was about to occur when Macduff discovered the body. Macduff did not understand Macbeth's cold, stiff manner and curt replies at the time. He thought Macbeth was angry at being...

Banquo also suspects that Macbeth murdered Duncan and the guards. Banquo is the only person outside of Macbeth and his wife who knows that the Three Witches had promised Macbeth he would become king of Scotland. When Act III, Scene 1 opens, Banquo is reflecting on the matter in a soliloquy beginning as follows:

Thou hast it now: King, Cawdor, Glamis, all,
As the weird women promised, and I fear
Thou play'dst most foully for't:

There may be many other thanes who suspect Macbeth on the principle of cui bono, i.e., who benefitted from Duncan's death? But the others are wise enough to keep their suspicions to themselves. Lennox was with Macbeth when Macduff discovered Duncan's body and raised a great outcry. But Lennox was young and guileless at the time and suspected nothing. Some years later, however, Lennox has become much more sophisticated and voices his suspicions of Macbeth in carefully guarded irony.

Men must not walk too late.
Who cannot want the thought, how monstrous
It was for Malcolm and for Donalbain
To kill their gracious father? Damned fact!
How it did grieve Macbeth! Did he not straight,
In pious rage, the two delinquents tear,
That were the slaves of drink and thralls of sleep?
Was not that nobly done? Ay, and wisely too,
For ’twould have anger'd any heart alive
To hear the men deny't. (Act III, Scene 6)