In an essay published in 1961, Robert Kelly coined the term "deep image" in reference to a new movement in American poetry. Ironically, the term grew in popularity despite the critical disapproval of it by the group's leading theorist and spokesperson, Robert Bly. Speaking with Ekbert Faas in 1974, Bly explains that the term deep image "suggests a geographical location in the psyche," rather than, as Bly prefers, a notion of the poetic image which involves psychic energy and movement (TM 259).1 In a later interview, Bly states:
Let's imagine a poem as if it were an animal. When animals run, they have considerable flowing rhythms. Also they have bodies. An image is simply a body where psychic energy is free to move around. Psychic energy can't move well in a non-image statement. (180)
Such vague and metaphorical theoretical statements are characteristic of Bly, who seems reluctant to speak about technique in conventional terms. Although the group's poetry is based on the image, nowhere has Bly set down a clear definition of the image or anything resembling a manifesto of technique. And unlike other "upstart" groups writing in the shadow of Pound and Eliot, the deep image poets-including Bly, Louis Simpson, William Stafford, and James Wright-lacked the equivalent of the Black Mountain group's "Projective Verse," or even, as in the Beats' "Howl," a central important poem which critics could use as a common point of reference. This essay, then, attempts to shed some light on the mystery surrounding the deep image aesthetic. It traces the theory and practice of Robert Bly's poetic image through the greater part of his literary career thus far.
Answer:
Potato soup
Explanation:
The savory liquid flows down my throat warming my stomach on a cold winter day. It somehow reminds me of my youth where as kids we had no worries about getting older only trival struggles such as an early bedtime. yet whenever we become teenagers we seem to forget how food brings us together. Lucki8ly when we resonate with a certain food memories flood back...just like the soup down your throat
The argument that favors federal judges having lifetime appointments is that the judges can rule on cases without fearing retribution.
In the code talker it shows the intensity of a solitary voice to shout out, for instance the plot of the code talker is that, A kid that us a Navajo (Kii yazhi) is sent to teacher school, to gain proficiency with the "white" individuals' way of life, language and take a stab at their kin. ... His assignment is to be a code talker ( utilize the Navajo language as the code so the Japanese need to have the option to interpret and discover their arrangements) So this implies individuals ought to talk up to be effective in their work.
(for some reason i feel like you meant to utilize the language to hide it from the japanese...)
ps... pls give brainly :3
