Plzzz help asap Which variable did you plot on the x-axis, and which variable did you plot on the y-axis? Explain why you assigned the variables in that way. Write the equation of the line of best fit using the slope-intercept formula y = mx + b. Show all your work, including the points used to determine the slope and how the equation was determined. What does the slope of the line represent within the context of your graph? What does the y-intercept represent? Test the residuals of two other points to determine how well the line of best fit models the data. Use the line of best fit to help you to describe the data correlation. Using the line of best fit that you found in Part Three, Question 2, approximate how tall is a person whose arm span is 66 inches? According to your line of best fit, what is the arm span of a 74-inch-tall person?

Step-by-step explanation:

The purpose of this study is to examine the possible causes of the at-

titudes toward love and death in the person and the poetry of Emily Dickinson,

the psychological and metaphysical interaction of these experiences in her

poetry, and the way in which this interaction concretizes, individualizes,

and tensions her lyrics.

In the mind and art of Emily Dickinson there is a peculiar ambivalence

toward all significant experience. This ambivalence is especially evident in

her handling of love and death. She presents them as simultaneously desirable

and fearful, fulfilling and destructive. She dramatizes them in an existential

frame in which they reveal the contradictory elements that she considers the

essence of the human condition. Close reading of her canon shows that the

poet's fundamental ambivalence toward love and death contributes to the psycho-

logical, metaphysical, and dramatic quality of her better poems.

Chapter II considers the possible historical, biographical, psychological,

and theological sources of Emily Dickinson's polar approach to love and death.

It relates her inclusive and ambivalent attitudes toward these encounters to

her cultural matrix, personal experience, psychic bent, and religious position.

It demonstrates the effects upon her creative handling of the love-death theme

of the poet's belief that expectation exceeds reality, that satisfaction

destroys desire, and that the physical is valuable primarily as a symbol of

the spiritual. It establishes the relation between the poet's reluctance to

accept the limitations of finite knowledge, love, and duration to her dual

presentation of love and death as ultimate transcendence and/or annihilation.

It traces her aesthetic suspension between the poles of desire and fear to her

fundamenta 1 uncertainty about the nature of God and so of man 1 s position in

relation to him and to all reality. It shows that while wanting to believe

in a loving deity, Emily Dickinson was not sure that he might not be an indif-

ferent or a malignant creator. Finally, it examines the effect of this scepti-

cism upon her poetic treatment of love and death and especially demonstrates

why, as a result, the expectation of love and death becomes the most desirable

human posture.

Chapter III explores poetry in which love operates at one of three levels:

1) metaphorical:reference; 2) dramatizing conditioner; and 3) essential sub-

ject. It examines the typical use of love at these three levels. It particu-

larly analyzes the situations, attitudes, imagery, and language patterns in

poems whose central experience is love. Setting up ten categories in which

love functions as the core of the poetic experience, it examines love as:

1) painful deprivation; 2) fearful threat; 3) rejection; 4) renunciation;

5) separation; 6) erotic encounter; 7) transforming grace; and 8) divine union.

It also considers categories which present the nature of love or trace its

effects. It organizes poems according to whether they present love as a ful-

filling or destructive experience. It reveals a movement in Emily Dickinson's

concept of love and in her handling of it as a poetic motif.

idk

step-by-step explanation: i just don't