In The Awakening, Edna always felt different from the people that surrounded, suggested through the flashbacks of Edna. The narrator in chapter 7 tells that "Even as a child, she had lived her own small life within herself" this suggests that Edna's action and feeling in the present are not new to her. As a role of mother and wife, she is simply not unhappy and felt the disconnection between the role that she is supposed to play and the expectation of the society. Further, Edna marries Leonce "On accident." As she is wandering out to sea in the novel, she is in reminding of her feelings from childhood by remembering about the night of swimming.
"She went on and on. she remembered the night she was far out and recalled the terror that seized her at the fear of being unable to reign the shore. She did not look back now, but went on and on, thinking of the blue-grass meadow that she had traversed when a little child, believing that it had no beginning and no end."
This provides with the realization that her interest of being free which manifest in her since childhood and realizes that she cannot have what she desires for. As a result, she realizes that she is not strong enough to maintain for this life and decided to end it all.
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.
The complete predicate in this sentence is A. mopped his brow, exhaled sharply, and picked up his phone.
B and C aren't correct, because they aren't complete predicates - something is missing.
D isn't correct, because <em>looking up from his computer monitor </em>is not a predicate, it is an adverb phrase.
Post hoc states that one event led to the following event that came after it. Since event B came after event A, event A caused event B.
This is fallacy because there are things such as coincidences, and an event coming after one doesn't mean they have to be related in any way.
Answer:
The Pardoner's disregard for the poor reveals the Church's hypocrisy.
