What is a physical description of the farm that you imagine?

The farm has many places within it, scenes.The barn at the farm is a place where the animals meet. At one end there is a raised area, like a stage, lit with a lantern, hanging from a beam above it. Animals give speeches here.

SugarCandy Mountain is another place, sort of a mysterious place all the animals go to when they die. Moses says it is up in the sky way past all of the clouds. In Sugarcandy Mountain clover is always growing, and the hedges or bushes are made of lump sugar and linseed cake.(Clover is a sweet grass that animals love.)

I need examples of personification in Act I of Hamlet with the line number please.

Shakespeare makes use of many literary devices in Hamlet and all his plays (and sonnets) which add drama and intensity to many of the scenes and descriptions. This allows him to excite and shock his audience using, to name a few, metaphor, allusion, irony, personification and, notably antithesis which is present in Hamlet's famous and regularly repeated words; "To be, or not to be, that is the question," (III.i.56). Expressing such contrary ideas in this way has inspired many.  

Personification attributes human characteristics to creatures and inanimate objects and even events. Death, murder and deception are regularly personified and the personification often makes the reality of it all the more severe. Death is ever present in Hamlet and, in Act I, as the ghost, or apparition, repeatedly appears the intention is for the audience to become increasingly involved in the plot so they too are almost part of the performance.

In Act I, scene i, Horatio begs the ghost to speak and to unburden himself if perhaps, he cannot rest because, in life, he "extorted treasure in the womb of the earth," (137). Earth is clearly personified as a woman who may then be part of the deceit, in hiding these so-called "treasures;" much like his current understanding of his own mother's betrayal. This use of personification then foreshadows events that will follow concerning Hamlet's mother's impending marriage to her brother-in-law. 

The whole kingdom mourns the death of Hamlet's father, "in one brow of woe," (I.ii.4). A brow or forehead is often drawn and furrowed, the frown revealing the concern. Personification ensures that the full extent of the grief is not underestimated. 

In Act I, scene iv, Hamlet questions the vision as he knows that his father is dead and wonders how his father can be present when Hamlet saw for himself, the "canonized bones," (46). The sepulcher is personified as it has opened, "his ponderous and marble jaws," (50). Note "his jaws," not its, confirming the human characteristics. Personification helps the audience understand the magnitude of events and to join the characters in their anxiety and despair.

Rosalia can't have children? She no longer has eggs or passes them monthly? How is Bella pregnant from Edward? Does he still produce sperm?

Stephenie Meyer explains this in detail on her website. I'll paraphrase here. Vampires were once human, and therefore are very similar to humans in many ways. Vampires have venom-based fluids in their bodies much like we have fluids in our bodies (tears, blood, lubricants in our cells and other tissue). Therefore, vampires are able to be aroused just as humans are, and male vampires have bodily fluids that carry genetic information and can fertilize a human egg. However, not many vampires have ever mated with a human before, as being that close and intimate with a human usually resulted in death for the human. So whereas female vampires are "frozen" and infertile, male vampires still carry genetic information in their semen, and are capable of producing offspring with a human, if they can mate without killing that human, and if the human can survive the pregnancy. 

See Stephenie Meyer's site for more details. The link is posted below. 

Why did the author write the book The Maltese Falcon? What is the author trying to prove?

Television was not available to the American public before the end of World War II in 1945. But TV sets were expensive and the programming was mediocre for many years. Before the advent of television, one of the most popular forms of mass entertainment was pulp magazines. They were given that appellation because they were printed on cheap pulp paper and typically only sold for ten or fifteen cents a copy. The writers were poorly paid. Dashiell Hammett was only getting one cent a word during his early days with Black Mask. A 5000-word story would bring him fifty dollars. He had to turn out a lot of copy to make a living. He lived in San Francisco on Geary Street for some years. His apartment rented for fifty dollars a month, so he could get by on about a hundred dollars a month, which would mean selling ten thousand words. All the pulp writers were writing mainly for money. They wrote what they thought their readers wanted to read, which was what the editors told them the readers wanted to read. The readers of pulp magazines were characteristically poorly educated men and women who wanted thrilling stories in language that was easy to understand. Some of the other good writers who started as freelance pulp-fiction authors were Jim Thompson, Cornell Woolrich, and Raymond Chandler. If they were lucky, they might sell a story to Hollywood. Cornell Woolrich complained that his agent never got him more than $5,000 for the movie rights to one of his stories. Woolrich was the author of Rear Window, among others. Raymond Chandler and Dashiell Hammett eventually did quite well in Hollywood. Chandler collaborated with Billy Wilder on the screenplay for Double Indemnity. Hammett's The Maltese Falcon was made into movies three times, but the classic noir adaptation of his novel by John Huston, starring Humphrey Bogart, Mary Astor, Peter Lorre, and Sydney Greenstreet is infinitely superior to the other two.

Dashiell Hammett had no great message to deliver to his readers in The Maltese Falcon. He was writing an interesting yarn with interesting figures and turning out copy as fast as he could in order to pay his bills. Although he did not have any formal training as an author, he had a good ear for the English language, and he wrote excellent dialogue. He has been compared to Ernest Hemingway as a masterful writer of dialogue. The final chapters of The Maltese Falcon are full of examples of his hard-boiled American vernacular. 

What is the point of mentioning the stars in the end of Act III in the play Our Town by Thornton Wilder?

The stars mentioned in Act III of Our Town connect to the Act I mention of "the Universe; the Mind of God" and are part of the thematic element thus initiated in Act I. One of Wilder's themes is that humanity is part of that which is big and important, specifically the "Universe" and "the Mind of God." The stars symbolize the "Universe" as part of an age old literary conceit and metaphoric association. The stars also symbolize "the Mind of God" as being one of the most splendid parts of the creation that is attributed to the mind of God.

In Act III, Emily has been advised not to return to the living world, but she does anyway. On her return her reaction is that humans are all "blind" and unseeing of the important human essence of each passing busy moment. She asks her mother while revisiting the land of the living to look at her, just look at her.

The dead characters indirectly respond to Emily's remarks by talking about stars. Though the audience doesn't know that the connection is not necessarily clear to the speakers, we can make the connection back to the address on Jane Crofut's envelope and come to the realization that, indeed, for all the smallness of the routine of daily life--the stirring of oatmeal so it doesn't lump or burn, the watching of eggs so they don't overcook, the giving of speeches and donning of dresses--humanity is part of that which is big, significant and important and thus is even more splendid than the splendorous stars.

As the Stage Manger says in the end of Act III, amidst all "the stars doing their old, old crisscross journeys in the sky," Earth is the only know shinning element in the universe that is "straining," striving--that houses humanity which is "straining," striving--"all the time to make something of itself." The final mention of stars by the Stage Manager puts humanity's desire to "make something of itself" in perspective in relation to that which it is a part of.

What is a symbol used in the short story "The Utterly Perfect Murder?"

Personally, as a symbol in the short story "The Utterly Perfect Murder," I like the train.  To me, it is a symbol of Doug's journey into his past.  This is actually supported by the text when Bradbury says: "The train moved. My wife was gone.  I rode off into the past."

Also, more indirectly, reread the scenes of him riding on the train.  Notice the way that the trains movements across the country coincide with Doug's recollections of his past.  As it goes through Kansas City (and a "beaut of a thunderstorm") he thinks about how Ralph had liked to punch him in the arm. Later, as the "night country rolled by" he thinks of being pushed into the mud in his good clothes.  Then later (as the rain beats on the train windows) he thinks of how one-sided the friendship was.  By the train stops, so have his recollections and he has arrived in his past:

"They say you can't go home again...That is a lie. If you are lucky and time it right, you arrive at sunset when the old town is filled with yellow light."

So, for me it is the train that is a great symbol in the story.  There are other possibilities, but I think this one is most poignant.

What is the first horrifying sight that Elie sees and disbelieves in Night?

In exploring this question, I thought that Wiesel's description of Elie's travelling to the camp might constitute as a horror that warrants a sense of disbelief.  The cramped conditions, as well as the open sense of flirting in the midst of this horrendous moment, and the notion of the destination might qualify as potential areas where disbelief could enter.  In analyzing how Eliezer details this voyage, one can see that there are moments where doubt, pain, and fear all converge within the narrative. These elements could be seen as the first moments where the nature of the Holocaust could have revealed themselves to Elie.  In reading the descriptions, there seems to be an undercurrent of disbelief within the narrative structure.  This might be due to the fact that Eliezer himself is unaware of what is going to happen, yet his mind begins to enter the domain of understanding that there will be little in way of both positive ending and escape from such a condition.