Answer:
I think the answer is B
Explanation:
There is no explanation specifically
Conditional mood, but not sure
Answer: C) subordinating conjunction.
Explanation: a subordinating conjunction is a word that joins a dependent or subordinate clause (a phrase that doesn't have complete meaning on its own) with an independent clause (it has complete meaning on its own). There are subordinating conjunctions that show a relationship between two clauses involving a transition of time or place. In this case, "after" is a subordinating conjunction joining the independent clause "Mrs. Jenkins thanked them gratefully" and the subordinate clause "After the police came to her rescue."
Answer and Explanation:
The author clearly uses a third-person point of view, which can be seen due to the lack of first person pronouns. Whether his point of view is limited or omniscient, however, is impossible to tell just from this part. This passage focuses solely on Mina, and even with her the narrator is not revealing any thoughts. As for creating interest in the story, the author introduces a conflict right from the start: the mysterious red box at Mina's feet. This event makes readers curious as to who left it there and why, and what the box contains.
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.
