Ashley Burrup

Mrs. Jackie Burr

English 1010, Section 7
3 January 2017
Constantly Risking Absurdity Poetry Analysis
In the poem Constantly Risking Absurdity, Lawrence Ferlinghetti takes the idea that
poets are constantly risking absurdity and compares this idea to an acrobat on a tightrope- the
poet like an acrobat. Ferlinghetti conveys the risk, the unsteadiness, the very gravity of
balancing that a poet has to create, as Ferlinghetti puts it, Beauty. To do so-to create Beauty- a
poet must risk absurdity. Ferlinghetti presents the idea of a poets risk by comparing a poet to an
acrobat through unique form and symbolism.
The idea that a poets goal is Beauty, yet there lies incredible risk in achieving such a
goal envelops the general theme of the poem; however, there are themes interwoven into the
different stanzas. For example, in the first and second stanza, Ferlinghetti, using his extended
simile, compares the tricks and entrechats that a poet accomplishes with symbolism in a poem
in order to show the intelligence that a poet takes upon himself to reach Beauty. In the third and
fourth stanza, Ferlinghetti states that a poets objective is to present truth; but, if the poet fails to
do so, will fall as an acrobat would off a tightrope. Ferlinghetti does this to show the risk-risking
death of reputation or career-of being a poet.
Ferlinghetti aims for a timeless piece of art, linking it to no time or place. Relating it to
all poets of all time periods, Ferlinghetti creates a fascinating, timeless, work. The narrator
explicitly unfolds the symbolism of the poem in third person yet displays the insight of a first

person account. Therefore, the Ferlinghetti invites the reader to equate himself with the narrator,
speaking to the implied reader as the assumed audience. Ferlinghetti uses a tone of peril and
uncertainty, utilizing words such as risking, death, balancing, gravity, death-defying
leap, and spreadeagled. The diction gives the impression of an acrobat, tiptoeing across a
tightrope, dangling over an expanse of empty air. This tone-peril and uncertainty-is employed
throughout the entirety of the poem. Because of the stated risk of a poet, Ferlinghetti implies that
the world outside of this poem is relentless and unforgiving. Suggesting that, should a poet fail to
reach Beauty and to perceive truth, the world will force its inexorable will on the poet and drop
him off of the symbolic tightrope.
Ferlinghetti, in the structure of the poem, did not use a specific rhyme scheme; however,
he used many examples of assonance and consonance evident from the beginning of the poem.
Employed in the very beginning is assonance with words such as climbs, rime, high, and
wire. Many other examples of this is evident throughout the poem. Lines 10-11 use pace,
way, and day. Also utilized is consonance, evident with the M in climb and rime as well
as the T in sleight, foot, and tricks. Many examples of alliteration can also be seen, as in
perforce perceive, taut truth, stance or step, death-defying, and charleychaplin.
The poem can be divided into sections between lines 5-6, 19-20, and 28-29. These breaks
match the thematic sections fairly well, but they also add some uncertainty to the meaning of the
poem because Ferlinghetti never uses the same number of lines in any stanza. Ferlinghetti also
omitted any punctuation, perhaps symbolizing that any distraction or pause could mean the
devastation of falling off the tightrope. No punctuation could also symbolize the tightrope itself,
which Ferlinghetti walks upon when writing this poem. The tightrope doesnt end abruptly- it is

a constant line. Employing a unique form in the poem, Ferlinghetti placed the lines of the poem
in an irregular alignment, each line drastically disproportionate from the previous line. This also
symbolizes the risk that a poet takes-walking on a tightrope, swaying back and forth
precariously.
Ferlinghetti uses primarily symbolic language, enveloping the entirety of the poem in an
extended simile. A very flexible syntax is used, at times disjointed. This use of syntax again
symbolizes the perilous nature of the poem. In the very first stanza, Ferlinghetti states that poets
risk absurdity and death. This death could perhaps mean the death of a career or a reputation
rather than literal death. The poet also performs above the heads of his audience.
Metaphorically, this could mean that, because poets are striving for Beauty and truth, they
must think above their audiences. This also draws a line between the performer and the
audience, who is being entertained. Ferlinghetti, in lines 3-5, introduces the overarching
symbolism. The poet also climbs up rime, which is a slippery substance, signifying the
creative process of a poet. The poet climbs to a high wire of his own making. The high wire
symbolizes the poem that the poet writes, implying that the poet creates this danger for himself.
Line 9 introduces a metaphor of the poet figuratively balancing on the eyebeams, or gaze, of
the audience. Ferlinghetti also utilizes personification, capitalizing Beauty and referring to
Beauty as her. By using this personification, Ferlinghetti expands this poem to not only be
about the poet, but also about Beauty, adding another character. Even though beauty is primarily
an idea, this idea is used as a person. Beauty stands and waits with gravity, indicating that she
holds a large part of the universe. The reader can also infer that Beauty is willing to take risks
with the poet as well, as she starts her death-defying leap with the poet.

Ferlinghetti expertly weaves this elaborate poem of symbolism and imagery to perhaps
communicate to the audience the feelings and purposes of a poet. The poem communicates the
danger and risk of a search for truth and beauty in a world that scarcely appreciates such ideals,
yet it also communicates the ambition of a poet in reaching those ideals. In this world, there are
many risks in careers, reputations, and relationships; but to achieve a higher purpose, one must
climb up the slippery slope to the tightrope that stretches to a higher meaning.

Works Cited
Donne, John. Death Be Not Proud. The Bedford Introduction to Literature. Ed. Michael
Meyer.
10th ed. Boston: Bedford/St. Martins, 2013. 897. Print.