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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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<u>At the party</u>, we met students who did not go to our school.
Explanation:
The underlined portion
Answer:
Olivia laments that Cesario seems unmoved by Olivia's confession of love, and admits that she is embarrassed to speak so openly about her feelings. For a high-ranking woman like Olivia to openly declare her love would have been considered improper, but Olivia cannot hold back her feelings.
Explanation:
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If the audience is very young, the primary goal is to entertain. For older people, however, there are a variety of different things the writer could be trying to accomplish, such as persuading, entertaining, and even informing. For that, you'd have to look at the content.
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