[…] this blow is presented […] as violently automasochistic. Think of Fight Club, particularly those scenes toward its close, where Jack is caught on camera—the truth regime of video?

Thou rather, with thy sharp and sulphurous bolt, Split'st the unwedgeable and gnarled oak[.]

We deal with having just a gallon of gas.

Now, Lydia, looking two ways, seemed to see double, but even she did not discover the subtle underdrift which gave this poem a distinct meaning for two persons.