Antony begin his speech with the words "friends, romans , and countrymen" to suggest that he and his listeners all share commonalities
By saying that words, he appeal to his audiences and creating the atmosphere of solidarity between him and the audiences
hope this helps
Answer:
A is the closest answer, My answer would be: Make sure everyone is focused and heard or included.
Explanation:
A. To introduce information for the group to discuss? Yes, This is very important, you are now firstly, getting everyone on track on what to do, and second, make sure to have everyone included
B. To help resolve conflicts during group discussions? Important but not really.
C. To take notes on the main points of discussion? again, Important but not really.
D. to track the time spent on the group discussion? That sounds like a minor job that a leader shouldn't do.
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.
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