The second half of the poem is dedicated to the poet's desire to make physical contact with one of the ponies:
would like to hold the slenderer one in my arms,
For she has walked over to me
And nuzzled my left hand.
In many ways, the second half of the poem solves the mystery of the first half. Nature has traditionally been associated with the figure of the Mother (i.e. The idea of there being a "Mother Nature" who reigns over the natural world.) Philosophers from Rousseau to Derrida and beyond have traditionally associated the Mother figure with the workings of nature. The poet's desire to make contact with, become one with the pony, belies a desire to be close to his mother once again, ultimately returning to the protected realm of childhood.
The poet's description of his contact with the pony is nearly erotic in its implications:
Her mane falls wild on her forehead,
And the light breeze moves me to caress her long ear
That is delicate as the skin over a girl's wrist.
At the same time, the encounter is more sensual...
Response Yes, technology generates problems, and it is shrewd and apt to point out that for every net gain to certain members of society via technology there is a net loss. The hand weavers of the 18th century were put out of business by 19th century factories that could manufacture clothing cheaply, computers have probably collectively caused the art of calligraphy to die, and made even professional writers overly reliant on
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architects in the 21st century is the issue of sustainability. Not only is there no consensus opinion on how to approach the issue of sustainability in academic circles but there is also no formula of integrating sustainability into architectural curriculum (Wright, 2003). This deficiency underscores an even more stressing problem, however: as Edwards and Hyett (2010) note, "the techniques and technologies of green design are now generally understood --
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