input: Once asked whether his critical theory was Romantic, Frye responded, "Oh, it's entirely Romantic, yes" (Stingle 1). It is Romantic in the same sense that Frye attributed Romanticism to Blake: that is, "in the expanded sense of giving a primary place to imagination and individual feeling" (Stingle 2). As artifacts of the imagination, literary works, including "the pre-literary categories of ritual, myth, and folk-tale" (Archetypes 1450) form, in Frye's vision, a potentially unified imaginative experience. He reminds us that literature is the "central and most important extension" of mythology: ". . . every human society possesses a mythology which is inherited, transmitted and diversified by literature" (Words with Power xiii). Mythology and literature thus inhabit and function within the same imaginative world, one that is "governed by conventions, by its own modes, symbols, myths and genres" (Hart 23). Integrity for criticism requires that it too operates within the sphere of the imagination, and not seek an organizing principle in ideology. To do so, claims Frye,  . . . leaves out the central structural principles that literature derives from myth, the principles that give literature its communicating power across the centuries through all ideological changes. Such structural principles are certainly conditioned by social and historical factors and do not transcend them, but they retain a continuity of form that points to an identity of the literary organism distinct from all its adaptations to its social environment (Words with Power xiii).  Myth therefore provides structure to literature simply because literature as a whole is "displaced mythology" (Bates 21). Hart makes the point well when he states that "For Frye, the story, and not the argument, is at the centre of literature and society. The base of society is mythical and narrative and not ideological and dialectical" (19). This idea, which is central in Frye's criticism, was first suggested to him by Giambattista Vico.

Answer this question "what was the most important piece in the article?"
output: Hart makes the point well when he states that "For Frye, the story, and not the argument, is at the centre of literature and society.

input: On October 4, 1961, Bruce was arrested for obscenity at the Jazz Workshop in San Francisco; he had used the word cocksucker and riffed that "to is a preposition, come is a verb", that the sexual context of come is so common that it bears no weight, and that if someone hearing it becomes upset, he "probably can't come". Although the jury acquitted him, other law enforcement agencies began monitoring his appearances, resulting in frequent arrests under charges of obscenity.  Bruce was arrested again in 1961, in Philadelphia, for drug possession and again in Los Angeles, two years later. The Los Angeles arrest took place in then-unincorporated West Hollywood, and the arresting officer was a young deputy named Sherman Block, who later became County Sheriff. The specification this time was that the comedian had used the word schmuck, an insulting Yiddish term that is an obscene term for penis. The Hollywood charges were later dismissed.  On December 5, 1962, Bruce was arrested on stage at the legendary Gate of Horn folk club in Chicago. The same year he played at Peter Cook's The Establishment club in London, and in April the next year he was barred from entering England by the Home Office as an "undesirable alien".  In April 1964, he appeared twice at the Cafe Au Go Go in Greenwich Village, with undercover police detectives in the audience. He was arrested along with the club owners, Howard and Elly Solomon, who were arrested for allowing an obscene performance to take place. On both occasions, he was arrested after leaving the stage, the complaints again pertaining to his use of various obscenities.  A three-judge panel presided over his widely publicized six-month trial, prosecuted by Manhattan Assistant D.A. Richard Kuh, with Ephraim London and Martin Garbus as the defense attorneys. Bruce and club owner Howard Solomon were both found guilty of obscenity on November 4, 1964. The conviction was announced despite positive testimony and petitions of support from - among other artists, writers and educators - Woody Allen, Bob Dylan, Jules Feiffer, Allen Ginsberg, Norman Mailer, William Styron, and James Baldwin, and Manhattan journalist and television personality Dorothy Kilgallen and sociologist Herbert Gans. Bruce was sentenced on December 21, 1964 to four months in a workhouse; he was set free on bail during the appeals process and died before the appeal was decided. Solomon later saw his conviction overturned; Bruce, who died before the decision, never had his conviction stricken. Bruce later received a full posthumous gubernatorial pardon.

Answer this question "Did he get jail time?"
output: Although the jury acquitted him, other law enforcement agencies began monitoring his appearances, resulting in frequent arrests under charges of obscenity.

input: Kane compares Swans to blues icon Chester Burnett, a.k.a. Howlin' Wolf. Some similarities worth noting--the music of early Swans was often based on a single riff, played repeatedly to hypnotic effect. Some of Burnett's songs--especially the songs penned by Burnett himself--have a similar structure and quality. Their early music was typified by slow and grinding guitar noise, and pounding drums, punctuated by Gira's morbid and violent lyrics (inspired by Jean Genet and Marquis de Sade), usually barked or shouted. Critics have described Swans' early recordings as "aggressive beyond words".  Their first full-length release, Filth (1983), featured driving, choppy rhythms and abrasive drums. The whole is reminiscent of earlier no wave bands, such as Mars, and the work of Swans' contemporaries, like Sonic Youth's Confusion Is Sex and Kill Yr Idols; but critic Ned Raggett contends that "early Swans really is like little else on the planet before or since". Filth was the first album to feature guitarist Norman Westberg, who would play a vital role in much of Swans' music and would feature on every subsequent studio album apart from Love of Life.  Cop (1984) and the originally untitled Young God EP were both released in 1984 and re-released together on CD in 1992. Young God has been known by several names, usually by one of its two A-sides, such as "I Crawled" or, notoriously, as "Raping a Slave". This release is often confused with their self-titled debut. The music continues in the same vein as Filth, and is again vaguely reminiscent of heavy metal music played in extreme slow motion. Swans were, in this era, Gira on vocals, Westberg on guitar, Harry Crosby on bass guitar and Roli Mosimann on drums. Gira's vocals had changed slightly, becoming slowly more melodic, although the snarl still remained. Some of the songs on the EP, particularly "Young God" and "I Crawled", have an actual vocal melody, if rudimentary, hinting at the sounds of future releases. Young God is considered by many to be the best of their early releases for this reason.  Justin Broadrick shared this impression of the group:

Answer this question "Were they initially successful?"
output: