Why does Hemingway use the title "Hills Like White Elephants" in the short story, "Hills Like White Elephants"?

This
is an interesting question that has more than one answer. The best and most accurate way to
understand Hemingway's title is as a double symbol that also represents the
overarching theme of the story. First: The title
represents Jig's interior references to "hills like white elephants,"
thus pointing out the main meaning and overarching theme. In other
words, that Jig speaks of "white elephants" is a central motif and a central theme of
the story that is pointed to and emphasized by the title; thus "white elephants" is
the key titular phrase that unlocks the deepest meaning of the story.

Second:
"Hills like white elephants" is a double symbol: it
symbolizes two things, one of which also symbolizes the other thing. You might think of this
double-compound symbol as one umbrella with two people sharing it.

To begin
with, "white elephants" are a symbol for that which is
holy and sacred. White elephants are a rare kind of elephant, which are not
Albinos, that are held sacred in some countries, like India, and in some religions, like
Hinduism and Buddhism. Thus the "hills like white elephants" represent a natural
monument (hills) that is sacred and powerfully good.

To go one step further
into the second symbol, the "hills like white elephants"--now tagged symbolically as
sacred and good--symbolize Jig's pregnancy,
the natural monumental event that is also an obstacle to advancing along life's path, just as
hills can be obstacles on journeys. Now we have two closely related symbols underneath the
representative "umbrella" of the title.

Therefore, Hemingway uses
the title "" to point out the deepest meaning of the story; to symbolize the sacred
nature of propagating children; to symbolize the pregnancy that is being debated by the American
man and Jig. 

In Elizabeth Bishop's "The Fish,'' why does the speaker let the fish go at the end of the poem? Please defend your answer.

In "," the speaker catches a "tremendous" fish. This old fish
doesn't even fight her as she reels him in. She notes the details of this fishhis skin, which
hangs off of him, is covered in barnacles. As she realizes the history of this fish, she
realizes that there is no victory in taking his life.

He has survived so
much. She sees that this fish has been a fighter in the past as she notes:

grim, wet, and weaponlike,
hung five old pieces of
fish-line,
or four and a wire leader
with the swivel still
attached,
with all their five big hooks
grown firmly in his mouth.

Like a war veteran, the fish displays his medals from former
victories with a quiet reverence of spirit. These battle scars are a part of him, both
metaphorically and physically. The speaker notes that it gives him an air of "wisdom"
as the lines trail from his jaw.

And now this old guy can fight no longer.
He has lived his best...

Compare Frederick Douglass's and Harriet Jacobs's lives as slaves.

Isac Muller, Ph.D.

While there are many similarities between the slave narratives ofand Harriet Jacobs,
some of the key differences between the two writers' stories hinge upon their respective
genders. Early on in Douglass' narrative he describes witnessing the whipping of Aunt Hester and
connecting her brutal punishment at the hands of her master to her physical attractiveness and
the role sexuality and rape play in the lives of female slaves. In a way, Harriet Jacobs' story
takes up a perspective similar to Aunt Hester's. Jacobs' life is less directly brutal than
Douglass', but she is subject to a kind of sexualized terrorism and abuse on the part of her
master.

The gender difference also plays out in an interesting way in terms
of the type of persona each writer presents and the sets of values through which they appeal to
readers. For instance, Douglass' story is characteristically American in the degree to which it
is story of Emersonian "Self-Reliance"--Douglass uses cunning and...

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What are some examples of real life people who are similar to Mathilde Loisel in Guy de Maupassant's "The Necklace?"

In describing
Mathilde as a character, we first must extrapolate the traits that make her salient and unique.
Then, you can take those traits and make href="https://www.facinghistory.org/resource-library/teaching-strategies/text-text-text-self-text-world">text-to-text,
text-to-self, and text-to-world connections with them. 

• Text-to-text connections- Compare Madame Loisel to another literary
  character.
• Text-to-self connections- Compare Madame Loisel to someone you
  know from a personal experience. 
• Text-to-World connections- Compare Madame
  Loisel with anyone you have ever heard of worldwide that is comparable to her. 

This is the most effective way to accurately tie Mathilde to someone either
in literature, or real life, that has a life or story similar to her own. 

All this being said, let's focus on Mathilde.

Mathilde is:

1. unrealistic-  She dreams of things and situations that cannot possibly
   occur within her current set of circumstances. Dreaming and wishing are different from expecting
   for things to change essentially on demand, like Mathilde did. It is impossible to turn a
   lifetime of...
   • href="https://www.bbc.co.uk/worldservice/arts/highlights/000808_maupassant.shtml">
     
     href="https://www.bbc.co.uk/worldservice/arts/highlights/000808_maupassant.shtml">http://www.bbc.co.uk/worldservice/arts/highlights/000808_...
     href="https://www.facinghistory.org/resource-library/teaching-strategies/text-text-text-self-text-world">https://www.facinghistory.org/resource-library/teaching-s...

Is Romeo and Juliet more about love than hate? Why?

I would argue that the
play is more about the strength of love than it is about hate. It is true that the feud between
the Montague and Capulet families does a great deal of damage, but, in the end, it is love that
triumphs over hate and not the other way around. Even in the , thetells us of

The fearful passage of ['s] death-marked love
And the
continuance of their parents' rage,
Which, but their children's end, naught could
remove [. . .]. (lines 9€“11)

Thus, from the beginning,
we understand that the love is ultimately more important than the hate.andtake their own lives
in their deep desire to be with one another, the result of their love, and it is only this proof
of their love that is finally able to bring an end to their parents' hatred for one another. In
the end, their fathers vow to construct beautiful states of pure gold of each
other's...

contrast tom and myrtle's love nest to the Buchanan house

Caraway, the narrator,
describes his cousin, 's,house in .He says that it is

[...] a cheerful red and white Georgian Colonial mansion overlooking the bay.The lawn
started at the beach and ran toward the front door for a quarter of a mile, jumping over
sun-dials and brick walks and burning gardensfinally when it reached the house drifting up the
side in bright vines as though from the momentum of its run.The front was broken by a line of
French windows, glowing now with reflected gold, and wide open to the warm windy afternoon
[...].

This paragraph is full of , descriptions of things
that we would perceive with one of our five senses.In this case, visual imagery is used in the
description of the red and white mansion, the vines that are
bright with flowers, the line of windows that glows with a golden
light.The house and lawn are pristine, classic, adorned but not gaudy with
decoration.We get a sense of its immense size as well, especially because the front lawn alone
is a quarter of a mile long.Theof "gold," as something incredibly expensive, is
another significant indication of the house's grandeur and worth.

Nick's
description ofand Myrtle's apartment in the city is quite different.He says that it has

[...] a small living room, a small dining room, a small
bedroom and a bath.The living room was crowded to the doors with a set of tapestried furniture
entirely too large for it so that to move about was to stumble continually over scenes of ladies
swinging in the gardens of Versailles.

Unlike the
Buchanans' home, this one is small, as Nick repeats three times, and
crowded.One gets the sense that nothing is in proportion: while the space is small, the
furniture is so large that one trips over it while trying to get from one
end of the room to the other.Further, the furniture is covered with scenes of the gardens at
Versailles, as though Myrtle has tried to choose something classy, whereas the Buchanans' feel
no such compulsion.They don't need to try to make their home elegant; they
are elegant.Myrtle tries to be elegant but doesn't really know how, and the
effect is more ridiculous and gaudy.

Compare Rufus and his dad. Is Rufus an improvement over his father? How is Dana's influence evident on the adult Rufus?

In 's
historical time-travel novel , the two characters Rufus Weylin, and his
father Tom Weylin, are white slave owners in the antebellum South. The , Dana, a black woman
from the 1970s, is summoned back in time to the Weylin plantation in order to save Rufus' life
multiple times. Rufus will then go on to impregnate Alice, whose child will be the next step in
Dana's bloodline.

Dana is called back to save Rufus numerous times over the
course of his childhood, adolescence, and adulthood, and as she gets to know him and forms a
relationship with him, she tries very hard to impart on him a sense of morality and equity.
While there are glimpses of Dana's influence on him, Rufus is steeped in the social mores of his
time and goes long periods without seeing or interacting with her. He ends up taking on not just
the responsibilities of his father as owner of the plantation and its slaves, but also many of
the learned racist customs of slave culture. By the end
of...