An uncharacteristically pale character and unrelenting disciple of fact, Bitzer almost stops Tom from fleeing after it is discovered that Tom is the true bank robber. Mr. McChoakumchild - The unpleasant teacher at Gradgrind’s school.
Answer:
Her eyes were as dark as the deep oak wood.
The sun perfectly illuminates her deep chocolate hair.
Although Friar Laurence is different from the nurse in terms of personality and how he holds himself, both he and the nurse are similar with their relationships with Romeo and Juliet. With Friar Laurence and Romeo, Romeo relies on Friar Laurence not to tell anyone about him and Juliet, and further asks him to participate by wedding them. This is similar to Juliet and the nurse because the nurse is also aware of Romeo and Juliet’s relationship, but doesn’t tell anyone, and further participated by hiding their relationship and covering for Juliet. One more similarity is that FL and Romeo both rely on each not to reveal R&J’s relationship, because although the Friar is not apart of the relationship, if it were to be revealed, so would the Friar’s participation in it, and the same goes for Juliet and the nurse.
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:
just say if u dont know him/her very well then just write that down.
Explanation:
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