texts and criticism

   2. What does Brooks balance by “hindrance to generalization” in poetry? Why does he design that such hindrance is a presage of cheerful poetry? 3. What does Brooks balance when he says that taunt is “the acknowledgment of the pressures of context”(805)? Why does he design that such a expectation of taunt susceptibility check what he calls “a exoteric corrupted by Hollywood”(805)?  Reuben A. Brower, “The Mirror of Analogy: The Tempest” 1. Early in his essay, Brower says that there are “recurrent analogies (or continuities)”(225) in The Tempest that are mediate to the overall depresage of the delineate. Use one or past of Brower’s inventory of what he calls “the six main continuities in the delineate”(226) to try to teach what he balances when he suggests that an “analogy” is a “continuity” (he uses the stipulations interchangeably).  2. What does Brower design is the “key metaphor” of the delineate? What, specifically, does he design is presageificant encircling this “key metaphor”?  3. What similarities are there in how Cleanth Brooks and Brower design of lore?   George Will, “Literary Politics” and Stephen  Greenblatt, “The Best Way to Kill Our Studious Inheritance Is to Turn It into a Decorous  Celebration of the New World Order” 1. Does Will’s invasion on the goals of contemporary studious critics appear justified? If so, why? If not, why not? 2. How do Will and Greenblatt vary in their reason of what the rate of lore susceptibility be? 3. Why does Will affect that it’s droll to design that The Tempest should be implicit in stipulations of colonialism? Are you persuaded by Greenblatt’s retort to what Will says encircling The Tempest? Why or why not?