Page 22 - Studio International - August 1965
P. 22

Helen  Frankenthaler

                              by  Dore  Ashton

      109½  X  93  in.

                              Nearly  every  criticism  of  Frankenthaler's  work  during   lyric poet.  First, the voice of the lyric poet is that of the
                              the fifteen years she has exhibited professionally incor­  poet  addressing  himself,  or  else,  no  one.  He  begins
                              porates the epithet 'lyrical'.  Certainly the untrammelled   with  a  creative  germ-Eliot  calls  it  an  embryo-and
                              fancy,  the  exuberance,  the  air  of  improvisational  free­  then searches for words. When he has found the words,
                              dom  suffused  in  everything  she  does  justifies  seeing   the  'thing'  for which they had to be found disappears.
                              her  as  an  essentially  lyrical  painter.  But  the  idea  of   In  its place is the poem.
                              lyricism  itself  requires  careful  definition.    Eliot adds that the lyric poet does not  know what he
                               In  the  commonsense  definition,  lyricism  describes   has to say until he has said it, and in the effort to say it,
                              spontaneity, sensuousness and ardent emotion.  Some­  he  is  not  concerned  with  making  others  understand.
                              times it is associated with hedonistic joy, but it need not   His  primary  task  is  to  be  understood  to  himself.
                              be.  By origin the word lyricism merely defines that kind   It  is  important  in  a  careful  definition  of  lyricism  to
                              of poetry that avoids the extended narration of the epic.   understand  that  lightness  of  touch,  singleness  of
                               T. S  Eliot has given us an  excellent description of the  passion,  soaring  imagery  and  bright  colour  do  not
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