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Box 1 - An example of a character's conflicting motivations
Box 2 - An extended definition of dictatorship as a form of government
Box 3 - A quotation from Plutarch that clearly relates to Shakespeare's play
Box 4 - A fact about Ancient Roman culture in Shakespeare's Julius Ceasar
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I'm sorry ur question is not clear
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Milkha singh-
was an Indian track and field sprinter who was introduced to the sport while serving in the Indian Army. He is the only athlete to win gold at 400 metres at the Asian Games as well as the Commonwealth Games. He also won gold medals in the 1958 and 1962 Asian Games. He represented India in the 1956 Summer Olympics in Melbourne, the 1960 Summer Olympics in Rome and the 1964 Summer Olympics in Tokyo. He was awarded the Padma Shri, India's fourth-highest civilian honour, in recognition of his sporting achievements.
Answer:
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Explanation:
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<span>The above statement is an example of the Faulty Analogy fallacy. The players don't necessarily need to be outrageously talented. Baseball is a team sport. As such they could be an outrageously talented TEAM.</span>
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.
