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.
Lord Capulet views marriage as a bargain, a contract, and a way to increase his family's standing in the community. Since Paris is a cousin of the Prince, Capulet believes that this marriage will bring honor and status to the Capulet family. He probably has the intention of using this to assert dominance over the Montagues. When describing Paris to Juliet he says he is "A gentleman of noble parentage / Of fair demesnes, youthful, and nobly train'd<span>" (Act 3, Scene 5). This shows that his main focus is Paris's status, rather than how he would actually be as a match for Juliet.
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Capulet does not even think of what Juliet might want, he says to Paris "I think she will be ruled / In all respects by me; nay, more, I doubt it not" (Act 3, Scene 4). This shows that he just assumes Juliet will agree to marry Paris because he said so. When she refuses, he reacts very badly. He says that if she does not agree to the wedding, she can "hang, beg, starve, die in
the streets, / <span>For, by my soul, I'll ne'er acknowledge thee" (Act 3, Scene 5). This shows the lengths he is willing to go to to punish Juliet if she does not agree, which reinforces his idea of marriage as a contractual agreement rather than something that is developed out of love. </span>
Refusing to acknowledge something unpleasant is a way of coping with that thing. Saying something that’s unpleasant isn’t unpleasant or there, convinces them that it might make it actually go away,
Alliteration is the figurative language for those types of sentences
Answer:Property
Explanation:
The property elements of a text is defined as the various possible modifications that can be carried out on a text to alter its outlook or appearance. Such alterations involve changing its colour, adjusting its size or giving it a new orientation
