What is the critical appreciation of "Patriotism and Sport" by G. K. Chesterton?

Chesterton, in his short essay "Patriotism and Sport," comprehensively dismantles the belief in the innate superiority of the British when it comes to sport by exposing its lack of intellectual integrity, not to mention its historical ignorance.
Chesterton takes a well-aimed barb at the jingoistic prejudices of his fellow Englishmen. They seem to find it outrageous that the supposedly lesser races (such as the French and the Belgians) should beat the British at sport. They believe that, as the Anglo-Saxon is inherently superior, it's simply not possible for him to lose in sporting competitions with his alleged inferiors. And yet it does happen, and when it does, the "stout" Englishman works himself up into a panic.
Chesterton challenges what he calls this "haughty theory of Anglo-Saxon superiority" by gently pointing out that many of the sports which Englishmen think of as their exclusive domain, such as riding to hounds, were in fact invented by the so-called lesser races. And so it's no surprise that they should prove themselves so good at them and that they should regularly beat their Anglo-Saxon counterparts.
http://www.online-literature.com/chesterton/all-things-considered/7/

Why does the beautiful lady leave the knight at the cave?

The narrator happens upon a knight in a field, all alone and weak; he is, apparently, dying as "on [his] cheeks a fading rose / Fast withereth." The knight explains that he met a beautiful lady, who seemed like a "faery's child" with her long hair and wild eyes. He made her flower garlands and they exchanged vows of love with one another. The beautiful woman took the knight back to her home, an "Elfin grot," they kissed for awhile (and who knows what else?), and then she lulled him to sleep. While he slept, the knight dreamed of other men who have been seduced by this beautiful woman and who are now all dead. They cry out to him in his dream that she has him in her power too. When he woke up, he found himself all alone on the cold hillside, the mysterious woman nowhere to be found. We can assume that the knight will now die as well. It seems, then, that this woman is something akin to a witch, that she takes pleasure in seducing men and ruining them. There seems to be something of the supernatural about her.

The title of the poem translates to "The Beautiful Woman Without Mercy." The woman in the poem is a sorceress-like figure who attracts men to her and leads them to ruin. Her motive is never identified in the poem and she remains mysterious to the poems speaker and to the audience, however, it would appear that her actions actually lack motive. After the speakers ordeal, he tells shares with passersby his experiences with the bewitching woman and they all have the same reply:

I saw pale kings and princes too,
Pale warriors, death-pale were they all;
They cried—‘La Belle Dame sans Merci
Thee hath in thrall!’

This suggests she has left countless other men in similar predicaments for undetermined reasons. As the title suggests, she is simply a beautiful woman who uses her powers to toy with men and led them into ruin just because she can. Some critics see Keats poem as being inspired by his own unlucky history in love and others see it merely as a successful experiment within the ballad genre.

Discuss the climax of the story "The Snows of Kilimanjaro" from page 25 beginning with ”it is morning........to page 28...the beating of her heart." lnclude point of view and characterization in your analysis. I need characterization in 250 words

"The Snows of Kilimanjaro" is a frustrating story about a frustrated man, who has misspent his life and wasted his talents, and now finds himself dying of slow blood-poisoning on a safari far away from home. He spends most of the story arguing with his wife, Helen, a patient, long-suffering woman, whose main offence seems to be not living up to Harry's ideals. He hates the way he treats her, as he hates the way he has behaved in all arenas of his life, and he regards his approaching death with a kind of bitter relief: here, at last, is an end to his confusion and suffering, and also to the suffering he's inflicted on others throughout his life. Helen urges him to remain cheerful, and insists that help will arrive soon, but Harry shrugs her off. As the night draws in, his infection worsens, and he begins to have oppressive premonitions of his death, which fill him with fear.
The passage you have asked about describes the final day of the couple's ill-fated safari. Harry, having spent a restless night slipping in and out of delirium, wakes to the sound of a plane overhead. This is the rescue plane which has come to airlift him to a hospital, where his gangrenous leg can be treated. Helen's optimism is vindicated by the plane's arrival, and that of the cheerful pilot, Compton, whose presence relieves Harry's feelings of dread. Serving boys help load Harry into the tiny plane, and he and Compton fly off towards civilization. The landscape below recedes into the distance, the plane passes through clouds and a sudden rainstorm, and then Kilimanjaro suddenly appears before them, and Harry realizes "that there [is] where he [is] going." As Harry has this realization, the point of view shifts back to Helen in the encampment, where it is still night. The sound of a hyena wakes her, and going to check on Harry, she discovers him dead.
There are a few interesting things about this climax, the most notable of which is the changing point of view. It is the first time we see things through Helen's eyes, and what we see is that Harry, far from being rescued, has succumbed to his infection. The hyena that wakes her with its "strange, human, almost crying sound" is the same hyena that Harry had been watching earlier in the evening, which he linked with his premonitions of death:

"[...] just then it occurred to him that he was going to die.
It came with a rush; not as a rush of water nor of wind; but of a sudden, evil-smelling emptiness and the odd thing was that the hyena slipped lightly along the edge of it."

Harry so strongly associates this hyena with death that he likens it to a kind of Grim Reaper, saying to Helen:

"Never believe any of that about a scythe and a skull," he told her. "It can be two bicycle policemen as easily, or be a bird. Or it can have a wide snout like a hyena."

When the viewpoint shifts to Helen's perspective, the hyena is still present, and making a very odd sound, but Helen was external to Harry's convoluted thought-process and therefore only hears a hyena, rather than anything supernatural. Harry's death shocks and saddens her, and she is insensible to anything outside of the dead man before her and the sound of her heart beating in her ears.
In this moment, as Helen kneels before Harry's cot, the reader can see how much she loves him. Harry has spent much of the story disparaging Helen, denying her intelligence, ability, and affections because he himself is so bitter and unhappy that he cannot accept her love. And yet when we see from Helen's point of view, we feel her panic and anguish at the thought of losing her husband:

"Then she said, 'Harry, Harry!' Then her voice rising, 'Harry! Please. Oh Harry!'"

And Harry, up in the sky flying towards the mountain, is for the first time, free from all the anger and confusion that has dogged him his whole life. As the plane lifts over the landscape he can see the beauty in it, and the patterns that make sense of the whole. It is only at the point of dying that Harry has had the time and inclination to review his life, and in the past few days, he has found it disappointing in every regard. Now, in the plane bound for the hospital where he will be healed of his sickness, he finally feels peace; he is willing to heal and to go on living. To realize that he is, in fact, dying, does not fill Harry with fear the way the specter of the hyena did; instead, he is filled with awe:

"[...] there, ahead, all he could see, as wide as all the world, great, high, and unbelievably white in the sun, was the square top of Kilimanjaro. And then he knew that there was where he was going."

As Helen's perspective on Harry's death shrinks the world to the sound of her heartbeat, Harry's own perspective is suddenly freed from all the "surly bonds of earth," as the plane passes through a storm and emerges in front of the shining white face of the mountain. This may be understood as the moment of Harry's dying, when his soul breaks its link with his body and returns to "Ngaje Ngai, the House of God."

What important words of advice has True Son’s father sent him in The Light in the Forest?

True Son's adoptive father, the Native-American chief Cuyloga, encouraged him from an early age to exact terrible revenge on the white man for what he's done to their people. As we reach chapter 7 of the story we find that True Son, now staying with his white relatives, is ideally placed to do this.
At a family reception. True Son's Uncle Wilse baits the young man, spewing out all kinds of racist bile against the Indians and trying to justify the massacre of the Conestogo tribe, in which he played a part. True Son's undeniably angry at this hateful outburst and rightly so, but he's not going to rise to the bait—at least, not yet. For True Son remembers Cuyloga's advice to bide his time until the time is right for him to put his plan of revenge into action.

Under what circumstances might fair trade actually cause harm?

Though a perfectly admirable idea in principle, fair trade can often have a damaging impact in practice. The whole purpose behind fair trade is to pay producers in the developing world a fair price—that is to say, a price above the market rate—for their products. The idea of fair trade is that, instead of exploiting Third World producers, as is often the case, Western businesses will treat them as equal partners.
The downside here is that artificially higher prices will inevitably be passed on to the consumer. The consumer will then be less likely to buy the relevant product than if the free market decided its price in the usual way. The end result will be that producers in the developing world will sell much less of their product, possibly resulting in their being considerably worse off.
In turn, the higher price of fair trade products in the stores will encourage domestic competitors to make inroads into the relevant market by offering similar products of markedly inferior quality. In an economic downturn, when money is tight, consumers may feel that it's worth it just to pay less, even if they know they're getting an inferior product. In such a marketplace, fair trade goods—premium goods at premium prices—are unlikely to get a look-in, with damaging consequences for producers in the developing world.

Choose some virtue not discussed by Aristotle and present an Aristotellan analysis. The virtue cannot be accountability or forgiveness.

According to Aristotle in the Nicomachean Ethics, ideal ethics were understood by finding the mean of two extreme positions. For example, "courage," a virtue, was the mean between rashness and cowardice, both of which are bad. Likewise, temperance was the mean of self-denial and self-indulgence.
We could imagine many modern virtues that might be arrived at through this process. In fact, many modern people talk about achieving balance in their lives, especially a balance between work and family life, or work and leisure time, which an increasing body of scientific work shows is essential to health. So we might say that a healthy "work-life balance" might be the mean of laziness and what people in the twentieth century called being a "workaholic." Good parenting, certainly a virtue, could be a mean between being too indulgent and being too strict. Aristotle also framed virtues as habits, meaningless without being put into action in human life, a principle which could be applied to any modern virtue, however we define them.
http://classics.mit.edu/Aristotle/nicomachaen.html

What is rhythm, meter, and syntax?

Syntax refers to the arrangement of the words, phrases, and clauses that make up a sentence.
Meter refers to the pattern of stressed and unstressed syllables in a line of poetry. Its unit of measure is called feet. The first line of Robert Frost's "Stopping By Woods on a Snowy Evening" is: "Whose woods | these are | I think | I know." There are eight words of a single syllable in this line, and the words that are bolded are the ones that are stressed. The meter of this line is iambic tetrameter (tetrameter means there are four metrical feet, which is where the vertical divisions are, above).
Rhythm is also a function of poetry. It is created through the pattern of stressed and unstressed syllables; as this pattern emerges in successive lines and stanzas, the rhythm becomes apparent.