What is the law of parsimony?
The law of parsimony is the principle according to which an explanation of phenomenon is made with the fewest possible assumptions.
What was the Stamp Act of 1765 and how did it contribute to tensions between Britain and its North American colonies?
After incurring deep debt by the end the Seven Years' War (1756-1763), Britain looked to its colonies as a source of revenue. In 1765, the British government imposed the Stamp Act, which imposed a tax on paper documents in the colonies. The colonists resisted the ordinance, arguing that Britain could not tax the colonies without first giving them proper representation in Parliament. The issues of taxation and representation between the British and its colonies fueled the initial fires that resulted in the Revolutionary War.
Describe the transformation over time that takes place within the speaker during the course of "The Love Song of J. Alfred Prufrock."
Most palpably, personal decay is evinced in Prufrock’s transformation throughout the development of his “love song.” At the outset, Prufrock is the epitome of youthful brazenness, daring, and spontaneity. As he whisks his companion, the “you” in “let us go you and I,” (Eliot 1) away to make their “visit,” (Eliot 12) for example, he implores him/her/it to forsake all questions about their journey and destination. “The evening,” metaphorically life, in the present case, “is spread out” (Eliot 2) before him. “There will be time” (Eliot 22), he refrains time and time again—“time to murder and create” (Eliot 28), “to prepare a face” (Eliot 27), “time for you and time for me” (Eliot 31). Prufrock has confidence—the brazenness to scoff at that “overwhelming question” (Eliot 10), to boldly traverse “certain half-deserted streets” (Eliot 4), to wait for “all the works and days of hands” (Eliot 29). Somehow that sense of self-assurance altogether erodes—decays. Suddenly, he becomes consumed with self-image. Painfully cognizant of his own fragility and old age—evinced by thinning hair, arms, and legs—that confidence emanating from those opening stanzas of his love song is completely lost, the poem closing with human voices waking him as he fatefully “drowns” in a sea of agonizing self-consciousness (Eliot 131).