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Tibullus also occasionally uses parallel writing, again employing verbal echoes. Thus poems 1.1 and 1.10 have a dozen points of contact, in more or less the same order in both poems; and the same is true of poems 1.5 and 1.6. An example of such links is asper and gloria in lines 1 and 2 of poem 1.5, and also in lines 2 and 3 of poem 1.6. [24]
In lines 2.1.67–71, Tibullus defends his preference to make the countryside a major part of his book of love-poetry by arguing that Cupid first began his activities in a rural setting. In terms of subject matter and verbal echoes, this poem also has a lot in common with the first poem of book 1, which is also about a rural festival.
In poem 6 has chiastic echoes more widely spread, for example quid precor a demens? in 27 vs. quid queror infelix? in 37; and the myth of Agave in 24 vs. the myth of Ariadne in 39, clearly marking 29–37 as the centre of the poem. Maltby notes that verbal echoes are also used to link poems together. For example, caram 'dear' and coniunx 'wife ...
The most powerful love poems, I think, address the fact that we are here now and one day won’t be. Keats’s “Ode on Melancholy” is an exquisite example. Keats knew immense suffering in his ...
Romantic poetry was attracted to nostalgia, and medievalism is another important characteristic of romantic poetry, especially in the works of John Keats, for example, La Belle Dame Sans Merci, and Coleridge. [citation needed] They were attracted to exotic, remote and obscure places, and so they were more attracted to Middle Ages than to their ...
"Lament for Lleucu Llwyd" (Welsh: Marwnad Lleucu Llwyd) is a Middle Welsh poem by the 14th-century bard Llywelyn Goch ap Meurig Hen in the form of a cywydd.It is his most famous work, and has been called one of the finest of all cywyddau [1] and one of the greatest of all Welsh-language love-poems, [2] comparable with the best poems of Dafydd ap Gwilym. [3]
The final couplet in poem often function as a "punch-line" conclusion, not only summarizing the poem, but also delivering the key thematic idea. [19] One example of Ovid's "argumentative" structure can be found in II.4, where Ovid begins by stating that his weakness is a love for women.
8 – Two love songs 9 – Confiscation of land. The tenth eclogue stands alone, summing up the whole collection. Numerous verbal echoes between the corresponding poems in each half reinforce the symmetry: for example, the phrase "Plant pears, Daphnis" in 9.50 echoes "Plant pears, Meliboeus" in 1.73. [6]