The correct option is
.
Further Explanation:
In the story "The Great Gatsby" Fitzgerald revolves around a love story of a man and a woman but there lies a much bigger platform under the romantic level. The story throws light on the people living during the 1920s in America. He portrays the character and the story who reflect on the hollowness of the moral aspect of the people. The people at that time rushed blindly behind the false and materialistic pleasure. The extravagant parties and the newly rich class of the society are the reflections of the American dream. The desire for money and pleasure constituted the dream of the Americans. The hippocras of the rich people and their lack of sensitivity has been highlighted in the story. The eyes of T.J Eckelberg which were printed on the billboard represented the level of commercialism hidden in the American dream. The eyes reflect on the emptiness in the life of Gatsby. Although he had earned a huge amount of money through illegal activities, still he lacked the presence of Daisy, the love of his life. The eyes represented different aspects for different people. To George Wilson, the eyes reflected the presence of God's eyes over the people. To Nick, it was the past which always keeps an eye on the present and the future.
Learn more:
1. Which tense allows for an event that began in the past to carry into the present moment in time? brainly.com/question/510250
2. A group of words with a subject and verb that does not express a complete thought is called a(n). brainly.com/question/817070
Answer details:
Grade: High School
Subject: English Literature
Chapter: “The Great Gatsby” by F. Scott Fitzgerald
Keywords:
The Great Gatsby, F. Scott Fitzgerald, American dream, rich class, society, commercialism, emptiness, romantic, billboard.
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.
Its C.The unseeing eye, skepticism, being lonely in a crowd