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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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1. Because she is a woman far ahead of her time, presenting women in positions that were not stimulated in society and that could shock listeners. Her story is about female freedom, wisdom and even sexual freedom and that was not something advocated in women at the time.
2. The king's punishment is for the knight to be executed for having abused a maiden against her will.
3. The queen begs the king for mercy. The irony in this is that no one imagined that the queen would impose a task so that the knight would not be executed, as readers might think that she would intercede for the knight only because she was kind and not a strategist as she proved to be.
4. Bath's wife claims that having the power to dominate is what binds women to men, because by dominating their husbands, women are able to satisfy their desires and enjoy everything that gives them pleasure. What the old woman values most is the loyalty between the couple
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