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The two lines in the given excerpt from Tolstoy's The Death of Ivan Ilyich demonstrate that Gerasim is a character foil to Ivan Ilyich are as follows:
"Gerasim alone did not lie; everything showed that he alone understood the facts of the case and did not consider it necessary to disguise them, but simply felt sorry for his emaciated and enfeebled master."
<h3>What is a Character foil?</h3>
A character foil may be defined as a personality that deviates from another character in order to emphasize distinct qualities of the other character.
The context of this story " The Death of Ivan Ilyich" illustrates the connection between death and the real meaning of life in a precise manner.
It also demonstrates the behavior of Gerasim as a character foil due to the lines mentioned above in the excerpt. It also reveals the good qualities and activities of Gerasim as a protagonist.
Therefore, it is well described above.
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Answer:
A Law is a set of rules accepted by the country, whereas code is a standard accepted by an individual, society, or a class.
Explanation:
In "To Kill A Mockingbird," in chapter 20, Mayella breaks both "law" and "code."
She breaks law by giving false statement against Tom in the court. And she broke the code, by tempting a Negro.
She accused Tom, who is black, of ra-pe and on the other hand, she lu-sts after a black man. However, breaking of law is more powerful because it involves punishment whereas breaking of code does not.
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.
If a story has an unreliable narrator, you should still trust what they say, although you must take it with a grain of salt. The narrator could still be telling the truth, although if they are insane they may describe seeing a ghost when there wasn't really a ghost. An unreliable narrator does not create a fake story, only an unreliable story, where there may be holes or lies weaved into truth.
