Frank o hara the day lady died. Perfectrhyme 2022-10-22
Frank o hara the day lady died Rating:
6,2/10
1523
reviews
Niccolò Machiavelli was a Renaissance political philosopher and statesman whose ideas continue to influence political thought to this day. One of the key concepts in his philosophy is the idea of fortune, or Fortuna in Italian. This concept plays a central role in his most famous work, The Prince, in which he advises rulers on how to acquire and maintain power.
According to Machiavelli, Fortuna is a fickle and unpredictable force that can either help or hinder a ruler's efforts to achieve their goals. He believed that Fortuna was beyond human control and could not be relied upon to bring success. Instead, he argued that a ruler should focus on their own actions and abilities, and not rely on Fortuna to deliver them victory.
Machiavelli argued that Fortuna could be harnessed to a certain extent through the use of virtù, or personal ability and courage. A ruler with virtù could take advantage of opportunities presented by Fortuna and use them to further their own ends. However, he also recognized that Fortuna could be a double-edged sword, and that a ruler who relied too heavily on it could be led astray and ultimately fail.
In The Prince, Machiavelli advises rulers to be cautious in their dealings with Fortuna, and to be prepared for both success and failure. He advises them to have contingency plans in place in case things do not go as expected, and to be flexible and adaptable in the face of changing circumstances.
Overall, Machiavelli's concept of Fortuna is a reminder that success is not always within our control, and that we must be prepared to deal with both good and bad luck as it comes our way. It is a cautionary tale for those who seek power and influence, and a reminder of the importance of personal responsibility and agency in achieving our goals.
A strong thesis statement is a crucial element of a research paper as it helps to guide the focus of the paper and provide a structure for the arguments being made. It should be clear, concise, and specific, and it should provide the reader with a sense of the direction the paper will take.
One key characteristic of a strong thesis statement is that it is specific. It should not be too broad or vague, but rather should be focused on a specific argument or point that the paper will explore in depth. This helps to keep the paper on track and ensures that the reader knows exactly what to expect from the paper.
Another important aspect of a strong thesis statement is that it is debatable. It should present a position or argument that can be supported with evidence and that is open to being challenged or debated by others. This allows the research paper to engage with the broader academic conversation and contribute to the ongoing discussion in the field.
Finally, a strong thesis statement should be concise and to the point. It should be expressed in a single sentence, or at most a few sentences, and should not be unnecessarily long or complex. This helps to ensure that the reader can easily understand the main argument being made and that the paper is well-organized and easy to follow.
In summary, a strong thesis statement is an essential element of a research paper as it helps to guide the focus of the paper and provide a structure for the arguments being made. It should be specific, debatable, and concise, and it should clearly express the main argument or point being made in the paper.
The Day Lady Died by Frank O'Hara • Read A Little Poetry
She sang these songs and it was very moving. This scene in the 5 Spot doesn't seem to properly belong in O'Hara's work, where it is employed nonetheless to invoke a spirit of authenticity. In order to pull off such decorative flourishes, a poem needs an absolutely sound foundation—a heart. Robert Von Hallberg points out that all of art and history most of it is not American is available here, not through Eliotic tradition, but through the benefits of mass production and cheapness. Beside the example of Billie Holiday, well eroded by the time she worked with Mal Waldron 1957-1959 , Partisan Review complaints about the difficulty of making art in a culture so leveled by mass culture as America was in 1959 sound disingenuous. This pattern is one of the traditional forms of lyric poetry , to be sure, but here it enables us to focus on how American lyric poets want to approach the world of objects but often do so by falling back on traditional methods.
Such a split in audience results from trying to join potentially conflicting artistic aims, and it continues to plague American poetry. And yet, this is a poem, recording one of his celebrated lunchtime walks, which and those who know and love O'Hara's "I do this, I do that" poems will surely agree , has radically transformed modern poetry's expectations of how it is licensed to represent everyday life. In the prepolitical climate of O'Hara's day, this survivalism found expression in the highly ironized flamboyance of the camp ethic--"laughing to keep from crying"--which structured a whole subculture around the act of imagining a different relation to the existing world of too strictly authorized and legitimized sexual positions. But about halfway through about where the above quote begins the selectivity of the speaker and his highbrow cultural concerns quiver ironically against the foreground of the casual "everyday" shopper. The occasion of the poem, the death of Billie Holliday, heightens the significance of the poem's details. . The final act of selection in "The Day Lady Died" appears not to be a conscious choice at all; the photograph of "Lady Day" invokes a memory of the artist's power to literally take one's breath away, and in doing so, to make the scenario of the poem's closure more vivid, more lasting.
But the felt weight and presence of the objects O'Hara details in the poem flatten and almost oppress anyone who looks to them for significance; the objects are clearly in the poem as an antipoetic weight. The reference to Bastille Day hardly seems gratuitous, for many of the poem's succeeding historical and geographical references are to oppression, imprisonment, and revolution, issues intimately related to Billie Holliday's life. For no sooner does he leave the Golden Griffin than O'Hara returns to a New York scene that millions of people literally would recognize and presents us with a "typical" urban experience by having the newspaper headline, with its announcement of some tragic "event," serve as a sudden, crude displacement of our reverie. The offending portion was a graphic account of the state of O'Hara's body on his hospital deathbed: This extraordinary man lay without a pillow in a bed that looked like a large crib. It was written by a poet, as I have suggested, whose blithe disregard for politics is equally well-known, a disregard, for example, that caused a stir when, in 1966, a minor quarrel broke out among certain literati over his refusal to sign a petition condemning U. In fact, it is a commonly held view that, when it comes to politics, cultural texts are least successful when they are long on militant fiber and short on pleasure ; in other words, when they are at their most articulate or didactic, and when their explicit relation to the political is there for all to read, and to be deferred to or brow-beaten by.
He was a quarter larger than usual. No doubt this notion of taste also contains the rudiments of the principle that came to be recognized by feminism as "the personal is the political. Uneven, yet grid-like and structured the stanzas are funneled through by spaces — roads dividing city blocks. But, for all of its worked-at insouciance, the art of consuming, unlike the art of the jazz singer, proves to be hard work: after a while, he's "sweating a lot," unlike Lady Day, who is remembered as the very image of cool. Yet even when the poem has "stopped breathing," the details do not fit into a readily apparent design other than that of the speaker's lunchtime walk itself.
Except for the cryptic title, a title whose significance would be noticed only by those familiar with Billie Holliday, there is no indication that the poem is an elegy until the closing stanza. Sure, he frequented the jazz clubs, and even gave readings at the 5 Spot. But which would prove more crucial to the future gains of multiculturalism? It is charged language of this sort a good bit of which I missed the first time I discussed the poem that makes O'Hara's work so fascinating. Disconnections turn out to be connections, isolated moments in time which lead to one moment transcending time -everything in the elegy works in this way. Taste, in this sense, is more like a survivalist guide than a cultural category through which class-marked power is defined and exercised.
As casual and coincidental as such references to authors and literary texts appear, the pattern of oppression and rebellion they convey casts a powerful shadow over a life the poem elegizes but never explicitly describes. Texts, in other words, speak more than they say, even when they seem to be about "surface things. I've always loved Billie Holiday's music and, at one time, had every recording she'd made in the U. This response takes many covert forms and baroque systems of disclosure, not least in the heavily coded speech repertoires and intonations of gay vernacular, which the attentive reader can find everywhere in O'Hara's poetry. Also, the same movement along this spectrum takes us away from the personal, disinterested stance of Bishop toward the intimate and self-revealing speaker in Ginsberg's poem. The present moment and the remembered one do not require metaphysical rumination in order to clarify them.
Critical Commentary on the Poem: ‘The Day Lady Died’ (Frank O’ Hara) Free Essay Example
A certain degree of care has been taken to mark these facts out with precision. The paratactic structure and … and … and , linking short declarative statements sequentially rather than causally, calls attention to what seems to be the meaningless flux of time. It is in this context that O'Hara's code of everyday responsibility begins to take on a new kind of sense, three decades later. In this respect, camp has to be seen as an imaginative conquest of everyday conditions of oppression, where more articulate expressions of resistance or empowerment were impossible. Or the prospect of fully integrated dance floors--black and white bodies moving to recognizably black rhythms, and the other racial crossovers which rock and roll culture has generated ever since its scandalous origin? A delicious irony about "The Day Lady Died" is that this most casual of utterances will, in becoming an anthology standard, someday require a whole battery of footnotes.
O'Hara has plans for dinner but does not know the people who will feed him; he is divorced in space and attitude from the Ghana poets, in time and habit from the writers mentioned in the third stanza one usually does not "go to sleep with quandariness"--one sleeps from boredom and the lack of choice--but O'Hara wants to suggest connections between multiplicity, lack of connections guiding choice, and forms of death ; he encounters probably for the hundredth time a bank teller be has no communication with, yet who also disproves his expectations; and even the apparently most arbitrary item, the reference to Bastille Day, has a curious appositeness in a poem so thoroughly about death, separation, and the fragility of established order. Her voice was her instrument. In this sense, hers is the world of muggy streets, hamburgers and malteds, the john door, the "5 SPOT. Protopolitical, for example, suggests submerged activity, while ideological suggests unremitting passivity; protopolitical suggests embryonic, or future forms, while ideological suggests the oppressive weight of the past extending into the present. It is in this context, perhaps, that the "surface things" in O'Hara's poetry show their unhidden depths.
What we have as evidence of his reception are a physiological response "stopped breathing" and the writing of a poem called "The Day Lady Died. O'Hara believed that poetry should be a spur of the moment, personal spontaneity where abstract was ruled out in favor of the artist's personal style or voice. Ushered into fashioning an entire mental neighborhood the reader can hardly overlook the reflected image upon the page itself. But that is another way of saying that the poem opens out to include much more of the universe of 1959 than the quarantined space of New York used in this poem. Whatever one could say about the friendliness of O'Hara, in his poetry, to the surface detail of everyday life, it is as difficult to find evidence there of this Pop disavowal of taste as it is to detect any sign of heroic Nietzschean loneliness of the sort espoused by Jackson Pollock and others. Such tension makes readers simultaneously attentive to significance in the seemingly insignificant and wary about attributing significance at all, as closer examination of several representative "I do this I do that poems" will show.
From Marjorie Perloff "In one brief poem," Ted Berrigan said in his obituary essay on O'Hara, "he seemed to create a whole new kind of awareness of feeling, and by this a whole new kind of poetry, in which everything could be itself and still be poetry. Richmond Lattimore, Brendan Behan, Le Balcon, Les Négres, Genet, Strega, Gauloises, Picayunes. As such they foreshadow the capitulation to drugs and death of Holiday, victim of exploitation by white and black men. This emphasis on the textuality of history foregrounds the relation of this literary text, "The Day Lady Died," to its immediate historical referent, the day "Lady" died. Consequently there are no canonical or privileged subjects for poetry: "Anything, literally, can exist in a poem; and anything can exist in whatever way the poet chooses.
