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1.Which selection(s) should be taken off? 2.What selection(s) would you consider as your favorite? 3.What else do you think should be included in our selections? 4.Any other activities in addition to online discussions? 5.Do you think the course load is appropriate? 6.Do you think you have written a reasonable number of reader’s responses? 7.Should there be more tests or fewer tests? Are they too difficult, too easy, or should they be kept the same? 8.What is your suggestion of the proportion between multiple-choice questions and short essay questions? 9.Do you think the grading is consistent? Do you think the comments on your responses help explain your grades? 10.Do you think the online lectures are helpful? Any suggestions?…show more content…
The symbolic function of the falling leaves should be evident, but their falling just at Mount Watari, “Mount Crossing,” is particularly evocative. Here the protagonist has his last chance to glimpse his wife. In the third section, the temporal sequence of the poem (day, night, dusk) suggests the passing of an indeterminate number of days, carrying the protagonist even farther from his wife. The two envoys act as a reprise of the entire choka while also adding new elements. The first envoy builds on the celestial imagery of the third section, emphasizing the metaphor of moon for wife. By introducing the movement of the horse it underscores both the speed and distance of the separation. The second envoy takes the reader back to the beginning of the poem. It is as though the protagonist had obtained a second chance to change things, when he utters the request for the scarlet leaves to cease falling so that he might see his wife once more. 2) In “892-893: Dialog of the Destitute,” excluding the envoy what are the concerns of the two parts in the poem respectively? Discuss the poet’s development of imagery. Why does the poem close with an envoy containing only a single image? The poem breaks into two halves. The first twenty-nine lines form the soliloquy of a man who is poor enough, followed by the response of one who is truly destitute. As we saw with the complex imagistic structuring of

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