The Function of Profanity in Allen Ginsberg’s Howl Allen Ginsberg’s poem Howl uses some profanity, but not that much. The “f-word” (if being counted correctly) is only used twice. However, having a unique view on profanity—it’s very possible that: some of the language he uses is adult, not merely profane; Ginsberg is trying to make an aesthetically arresting poem; and some of the references he uses are to make the reader emote…
Sex, drugs, and rock ‘n’ roll will always be offensive to someone—but profane, not necessarily. What may be profane to some people may not be profane to others. And thusly, it is the knowledge that such work like the poem Howl that is called out for its profanity which makes one wonder—should Howl be regarded as ‘bad’? Just because people use profanity or obscene imagery, that does not necessarily make them ‘bad,’ to be brief. Good people sometimes do bad or wrong things, but to judge a person’s entire poem on the fact that it does use profanity or obscene imagery is like judging a book by its cover, and not by its content. On the surface, it may seem like Ginsberg is being irreverent, flying in the face of authority, flouting the law. ...
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The three part poem “Howl” by Alan Ginsberg describes a nightmarish world of madness, drinking, drugs and weird religious imagery. He seems to be describing the kind of lifestyle that drop-outs and hippies experimented with in the 1950s as a reaction to conservative American lifestyles.
This essay demonstrates that the work remains complex and richly textured. The poem is divided into three sections, each with prominent thematic concerns. This essay examines Ginsberg’s "Howl" as it relates to historical, political, and social contexts. This is the work’s characteristic implementation of Beat Generation.
Carson’s the Autobiography of Red is poetic novel that is rich in Greek mythology as she translates ancient stories in a mix of both essay and poetic form to present a rich text that blends different ideas to portray translated format of Greek myths. The novel has seven distinct sections that represent the sections of Greek nomos.
It is evidently clear from the discussion that both the poets have exhibited limited similarity when it comes to the use of line, as Whitman’s lines connect to the outer sphere, while Ginsberg’s lines are inward. The self of Whitman is all-encompassing but Ginsberg’s self is passive, lacking diversity by excluding rural settings.
The poem is a prominent paradigm of free verse style in catalogue technique, which uses diverse rhythmic patterns according to its requirement, in which readers can find ample criticism on the social system prevailed in 1940-50.
The process of questioning an existing norm, however, is not an end in itself. It does have to satisfy a certain need even if it is not consciously done so. This particular reasoning is behind the pervasiveness and use of profanity in social interaction in Timothy Jay's article "The Utility and Ubiquity of Taboo Words" (Jay, 2009).
"Howl" as Ginsberg maintains, has its "own charisma" and needs "no explanation for inclusion" (xvii) in this volume of poems chosen by the poet himself. An analysis of the poem makes clear that the poem admirably fulfills the three criteria set by the poet, even the seemingly impossible one of transforming consciousness, but only with the inclusion of its fourth section printed separately from the other three, as "Footnote to Howl."
this time, the Beatnik era was prevalent and the Beats reveled in poetry, music, art and fiction and read their creative works to enthusiastic listeners, thereby creating a legend of themselves. The film ‘Howl’ is based on the poem ‘Howl’ by Ginsberg, but is set in the
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