Your answer is the first one, allies. Hope this helps, and please mark brainliest. Have a great night!
Answer: Situation
Situation humor refers to the circumstances being of a comical nature, unusual nature, or otherwise creating a scene of a humorous nature.
Language would be jokes. And character would be bizarre or unusual character. <span />
Hello. This question is incomplete. The full question is:
While some say winter will be six weeks longer thanks to the groundhog, no one really knows. One day it may be snowing, and the next it may be sunny and warm. Every day is different and, while we are able to see approaching hurricanes using radar, the weather will forever go to the beat of its own drum.
What is the main idea?
The coastal regions experience the most damage as a result of hurricanes.
Hurricanes are intensely powerful storms that are only growing more intense.
While we may know what's coming ahead of time, weather remains unpredictable.
Meteorologists can make predictions of hurricane movement, but the complex conditions make certainty impossible.
Answer:
While we may know what's coming ahead of time, weather remains unpredictable.
Explanation:
The sentence "the weather will forever go to the beat of its own drum" shows that the weather is completely unpredictable and will act according to its own wishes, even if we try to predict what it will do. This shows us that the weather is something beyond our control and that it is ready to surprise us, presenting a snowy day and another sunny day, without giving us the slightest warning.
<span>In India people were born into a religion not choose their religion</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.
