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He liked his women young, he said And not half-dead. Summer When summer came My father left the house He tied a ribbon in his hair And wore a Kaftan dress. He toured the world And met a guru in Tibet. Autumn Through autumn days My father felt the leaves Burning in the corners of his mind. My mother, who was younger by a year, Looked young and fair, The sailors from the port of Martinique Had kissed her cheek.

He searched the house And hidden in a trunk beneath the bed My father found his second-hand guitar. He found her see-through skirt With matching vest. He made the bed, He wore his Kaftan dress A ribbon in his hair.

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Winter At sixty-four My mother died At sixty-five My father. Thomas McCarthy Love possesses poets like no other feeling. That X could be an Ex. The skill with which Groarke layers those feelings is astonishing. Anyone who has lost in love will get this poem instantly. Ghost Poem by Vona Groarke Crowded at my window tonight, your ghosts will have nothing to speak of but love though the long grass leading to my door is parted neither by you leaving. The same ghosts keep in with my blood, the way a small name says itself, over and over, so one minute is cavernous.

You are a sky over narrow water. I want to tell you all their bone-white, straight-line prophecies. Vona Groarke, X Gallery Press. Tom Paulin To Lizbie Browne may seem an odd choice of a love poem. It haunted me and later I came to see it as primal, obsessive, even fetishistic. It succeeds in being both tender and self-mocking.

In sun, in rain,? Where went you then, O Lizbie Browne? I have seen them gentle, tame, and meek, That now are wild and do not remember That sometime they put themself in danger To take bread at my hand; and now they range, Busily seeking with a continual change. But all is turned thorough my gentleness Into a strange fashion of forsaking; And I have leave to go of her goodness, And she also, to use newfangleness.

But since that I so kindly am served I would fain know what she hath deserved. All the more astonishing then to have him remembering one woman above all the others who throws off her clothes and takes sweet control of a sexual encounter. Dear son, I was mezzo del cammin and the true path was as lost to me as ever when you cut in front and lit it as you ran. See how the true gift never leaves the giver: returned and redelivered, it rolled on until the smile poured through us like a river.

How fine, I thought, this waking amongst men! I kissed your mouth and pledged myself forever. Christopher Reid So many love poems are concerned with the exciting preliminaries: first glimpse, coup de foudre, wooing, and winning or losing; too few celebrate what follows. Part of Plenty by Bernard Spencer is a great, uxorious exception. He proceeds like a painter, coaxing coherence from disparate elements. The final stanza, in a risky gesture typical of Spencer, confounds both syntax and grammar to suggest an uncontrolled blurting out of joy, a matrimonial ecstasy that obeys only its own laws.

I find this ingenious, profound and moving.

Rumi: The Book of Love: Poems of Ecstasy and Longing

When she puts a sheaf of tulips in a jug And pours in water and presses to one side The upright stems and leaves that you hear creak, Or loosens them, or holds them up to show me, So that I see the tangle of their necks and cups With the curls of her hair, and the body they are held Against, and the stalk of the small waist rising And flowering in the shape of breasts;. Whether in the bringing of the flowers or of the food She offers plenty, and is part of plenty, And whether I see her stooping, or leaning with the flowers, What she does is ages old, and she is not simply, No, but lovely in that way.

Peter Robinson, Bloodaxe, More recently, the love poem seems to have emerged from the shadows again. To comment you must now be an Irish Times subscriber. Please subscribe to sign in to comment. We use cookies to personalise content, target and report on ads, to provide social media features and to analyse our traffic.

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Love poems: ‘For one night only naked in your arms’ - 14 poets pick their favourites

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John Keats | Poetry Foundation

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  1. Color Doppler Sonography in Gynecology and Obstetrics;
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  3. Rumi: The Book of Love : Poems of Ecstasy and Longing;
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New comments are only accepted for 3 days from the date of publication. It enhances the relationship and comforts the soul. Romantic love is deep, intense and unending. It is shared in a very intimate and interpersonal and sexual relationship. The terms Platonic love, familial love and religious love also matters of great affection. It is more of desire, preference and feelings. Psychology portrays love as a cognitive phenomenon with a social cause. It is said to have three components in the book of psychology: Intimacy, Commitment, and Passion. In an ancient proverb, love is defined as a high form of tolerance.

Love also includes compatibility. But it is more of a journey to the unknown when the concept of compatibility comes into picture. Love is such a theme which cannot have a beginning and which can have no end. It is an end in itself. Wimsatt, Jr. Ovid was, of course, the racy Roman writer known for his explorations of erotic love.

Ovid presents a threefold program of love. First to explain how love can be won by lies and deception ; second to traet the more difficult problem of how lovw can be kept once it has been won by humiliation and self- deception ; and third to suggest ways in which love can be remedied when the lover is unsuccessful or disillusioned strength of will and reason Andearsen One can find a synthesis of joy and fulfillment thereby giving an aroma of frankness, arrogance and sensuousness.

Sometimes they are direct and passionate in tone. Donne rises to a purer conception of love which is neither Petrarchan nor Platonic but a mixture of passion and tenderness, trust and affection. His poetry is less classical than that of the Elizabethans. Donne elaborates that love is a perpetual flux and the law of that flux is fickleness. One can find the eternal significance of love as a natural passion in the human heart the meaning and end of which is marriage.

He justifies love in his poems as a passion in which body and soul alike have their part and of which there is no reason to repent. There are three strains in his love poems. One is that of cynicism, the next is of conjugal love and the third is of the soul alone. Donne was no doubt following Petrarch in writing love poetry mainly addressed to his beloved. Donne adopted two characteristics of Petrarch: one the use of conceits and the other, a sort of insipient dramatic form of addressing the beloved by the lover.

Donne is found in a sporting attitude. After this Donne grows to feel a depth of the experience of love, when fully shared by the mistress, though it may yet be confined to the body The Sunne Rising, The Cannonization. Here one can visualize the intensity of bodily passion which goes beyond itself and strikes as spiritual faith. Then the poet carries us to a region of metaphysical experience from the physical vitality of love and its normal psychology The Extasie. Here he develops the philosophy of love which is in harmony with his religious thought which is the inter-dependence of body and soul.

Revolting against the Petrarchan theme of love, Donne tries to introduce a new realism in love poetry dealing mainly with the psychology of love. This poem involves both body and soul where soul is liberated from the body and thus communicates with the oversoul. The Flea is a remarkable poem where physical love merges with the spiritual. The flea is no doubt a physical entity but through the conceit it reaches beyond mere physical bounds.

In The Sunne Rising the self sufficiency of the lovers are shown against the worthlessness of the world. Here the contrast is between the world and its people and the lovers. Immortality in love is rightly established against the world in The Annivrsary. Here the lover accepts the supremacy of death so far as he worldly objects are concernes.

Donne introduced the Platonic concept of love but balanced it with the physical love. According to him two souls can be united to one only when the body, moved by their senses comes to be united in passion. Love and soul are therefore felt as concrete as body and the world thereby giving the idea that soul realizes its existence through body only. Donne affects the metaphysics and Dr. Samuel Johnson confirmed it. Samuel Johnson rightly defines it as a perception of occult resemblances in things apparently unlike. His poems cover a wide range of feeling from extreme physical passion to spiritual love and express varied moods ranging from cynicism and contempt to one faith of an acceptance.

His treatment of love is both sensuous and realistic.

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He does not define female beauty in his poems and here he comes closer to Plato who defines body as a playground. Here and there an image occurs in his poetry which appears out of place. In his religious poems, the imagery of sexual love is certainly to be deplored. Most of the images are conceits, which are a marked characteristic of metaphysical poetry and these conceits are instruments of definition in an argument or instruments to persuade.

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A metaphysical poem has something to say which the conceit explicates or something to urge which the conceit helps to forward. References 1.


  • Love and its Critics?
  • The Ecstasy: Classic Erotic Poetry in English.
  • Just Girls Having Fun.
  • Lewis, C. William K. Seventeenth Century English Poetry, ed. Keast, New York, 6. Grierson H. William J. Waugh Patricia, Literary Theory and Criticism Sethuraman V. Sinha Krishna Nandan, Metaphysical Poets Legouis and Cazamian, History of English Literature