One of the exaggerations of Jim Smiley was by Simon Wheeler wherein Wheeler would say that Jim Smiley is the type of person that "bets on anything that turned up". In the story, Smiley betted on cockfights, horse races, cat fights and other animal fights. This hyperbole emphasizes that Smiley loves to bet and gamble in general.
<span><span>In Chapter 30 of To Kill a Mockingbird, Mr. Heck Tate insists that he report that Bob Ewell fell on his own knife and died, but Atticus Finch believes that Mr. Tate is trying to merely protect Jem. He tells the sherriff that he must have Jem live honestly and face the consequences of</span></span>
Answer:
The correct answers are wafting from the oven, melting in your mouth and warm and cozy.
Explanation:
These phrases are phrases in the passage that are adjectival phrases. These phrases are being used to describe a noun. An adjectival phrase always starts with the adjective.
Answer:
The outcome when Mark Twain tries to persuade different wild and tame animals to accumulate vast stores of food was that they did not do it.
This example shows us of never ending hunger of humans to store more than necessary.
Explanation:
The Lowest Animal is a paper written by Mark Twain of his fictional experiment done with animals.
In lines 52-64, Twain asserts that he tried to persuade animals, both wild and tame, to accumulate vast stores of food line. But he remarks that no one stored food more than they required. Even the bees collected only what was required for them for winters.
This experiment is suggestive of human's nature of greed and hunger for more. Through this experiment, Twain is conveying the message that humans are the animals that comes at the lowest animals and not the other way around.
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.
