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Constantly Risking Absurdity By Lawrence Ferlinghetti
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
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[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Constantly risking absurdity and death ,[object Object],[object Object]
Whenever he performs  above the heads   of his audience ,[object Object]
the poet like the acrobat climbs on rime   to a high wire of his own making ,[object Object],[object Object]
and balancing eyebeams  above a sea of faces ,[object Object]
paces his way to the other side of day ,[object Object],[object Object]
performing entrechats and sleight-of-foot tricks
and other high theatrics and all without mistaking
any thing   for what it may not be ,[object Object],[object Object]
for he’s the super realist who must perforce perceive ,[object Object],[object Object]
taut truth before the taking of each stance or step
in his supposed advance towards that still higher perch
where Beauty stands and waits with gravity to start her death-defying leap
and he a little charliechaplinman who may or may not catch
her fair eternal form spreadeagled in the empty air of existence
The Metaphor ,[object Object],[object Object]
Constantly risking absurdity and death ,[object Object]
Whenever he performs  above the heads   of his audience ,[object Object]
the poet like the acrobat climbs on rime   to a high wire of his own making ,[object Object],[object Object]
and balancing eyebeams  above a sea of faces ,[object Object]
paces his way to the other side of day ,[object Object]
performing entrechats and sleight-of-foot tricks ,[object Object],[object Object],[object Object]
and other high theatrics and all without mistaking ,[object Object],[object Object]
any thing   for what it may not be ,[object Object],[object Object],[object Object]
for he’s the super realist who must perforce perceive ,[object Object],[object Object]
taut truth before the taking of each stance or step ,[object Object]
in his supposed advance towards that still higher perch ,[object Object]
where Beauty stands and waits with gravity to start her death-defying leap ,[object Object]
and he a little charliechaplinman who may or may not catch ,[object Object],[object Object]
her fair eternal form spreadeagled in the empty air of existence ,[object Object],[object Object],[object Object]
Form of the poem ,[object Object],[object Object],[object Object],[object Object],[object Object]
Rhyme ,[object Object]
The shape of the poem ,[object Object]
Alliteration ,[object Object],[object Object]
Assonance ,[object Object]
[object Object]
. Recognized as one of the most influential and important poets of the Beat movement, Lawrence Ferlinghetti was born in Yonkers, New York on March 24, 1919. Shortly after his birth, Ferlinghetti's mother was committed to an asylum for the insane and the young boy was sent to France to be raised by a female relative.  It wasn't until his return to America, at the age of five, that this future poet learned to speak English. Ferlinghetti also began writing poetry during his years at boarding school in the late 1920's.
The term "the beat generation" was first used by John Clellon Holmes in a 1952 article,  This Is The Beat Generation , about the young people of his time for the New York Times Magazine. Recalling a conversation with Jack Kerouac in 1948, Holmes had asked Kerouac to think of a way to describe the unique qualities of his generation; Kerouac came up with the term 'Beat Generation' on the spot. The term "beat" bears connotations of down-beat, worn out, down-and-out, drop-out and beatitude.
The beat poets and writers developed their own slang and highly idiosyncratic style. Their convictions and attitudes were unconventional, provocative, anti-intellectual, anti-hierarchical and anti-middle-class. They were influenced by jazz, by Zen Buddhism and by American Indian and Mexican Peyote cults, and their Bohemian lifestyle was popularly associated with drugs, 'free' sex, drink and permissive living in general. It was in some respects anarchic and provoked considerable hostility.

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Constantly risking absurdity

  • 1. Constantly Risking Absurdity By Lawrence Ferlinghetti
  • 2.
  • 3.
  • 4.
  • 5.
  • 6.
  • 7.
  • 8.
  • 9.
  • 10. performing entrechats and sleight-of-foot tricks
  • 11. and other high theatrics and all without mistaking
  • 12.
  • 13.
  • 14. taut truth before the taking of each stance or step
  • 15. in his supposed advance towards that still higher perch
  • 16. where Beauty stands and waits with gravity to start her death-defying leap
  • 17. and he a little charliechaplinman who may or may not catch
  • 18. her fair eternal form spreadeagled in the empty air of existence
  • 19.
  • 20.
  • 21.
  • 22.
  • 23.
  • 24.
  • 25.
  • 26.
  • 27.
  • 28.
  • 29.
  • 30.
  • 31.
  • 32.
  • 33.
  • 34.
  • 35.
  • 36.
  • 37.
  • 38.
  • 39.
  • 40. . Recognized as one of the most influential and important poets of the Beat movement, Lawrence Ferlinghetti was born in Yonkers, New York on March 24, 1919. Shortly after his birth, Ferlinghetti's mother was committed to an asylum for the insane and the young boy was sent to France to be raised by a female relative. It wasn't until his return to America, at the age of five, that this future poet learned to speak English. Ferlinghetti also began writing poetry during his years at boarding school in the late 1920's.
  • 41. The term "the beat generation" was first used by John Clellon Holmes in a 1952 article, This Is The Beat Generation , about the young people of his time for the New York Times Magazine. Recalling a conversation with Jack Kerouac in 1948, Holmes had asked Kerouac to think of a way to describe the unique qualities of his generation; Kerouac came up with the term 'Beat Generation' on the spot. The term "beat" bears connotations of down-beat, worn out, down-and-out, drop-out and beatitude.
  • 42. The beat poets and writers developed their own slang and highly idiosyncratic style. Their convictions and attitudes were unconventional, provocative, anti-intellectual, anti-hierarchical and anti-middle-class. They were influenced by jazz, by Zen Buddhism and by American Indian and Mexican Peyote cults, and their Bohemian lifestyle was popularly associated with drugs, 'free' sex, drink and permissive living in general. It was in some respects anarchic and provoked considerable hostility.