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The original manuscript of the poem, BL Harley MS 2253 f.63 v "Alysoun" or "Alison", also known as "Bytuene Mersh ant Averil", is a late-13th or early-14th century poem in Middle English dealing with the themes of love and springtime through images familiar from other medieval poems.
About Minaketan's style and choice of words, poet Shree Biren has this observation [clarification needed] – It is a fact that any reader will find himself a kind of push which violently thrown out at the very threshold. To know the true Minaketan a reader must face this kind of repulsion and must try to open the door and if one had succeeded ...
Byas’ poetry collection, “I Done Clicked My Heels Three Times” (Soft Skull, $16.95) — winner of the 2023 Maya Angelou Book Award — borrowed some scaffolding from the 1978 musical “The ...
The choice to love is a choice to connect — to find ourselves in the other.” Both ideas make sense to me. It does not surprise me that those who question my chosen family are threatened by its ...
He published a number of poems, and was regarded as significant enough in his time to be included by Samuel Johnson in his Lives of the Poets. 'The Choice' is the poem for which Pomfret is now probably most remembered, especially as it was chosen by Roger Lonsdale as the first poem in The New Oxford Book of Eighteenth Century Verse. [2]
The choice of an eastern character was unusual for a westerner at the time, though Byron, François-René de Chateaubriand, Thomas Moore and others had written other Orientalist works. [43] Autobiographical overtones suggest Poe based the poem on the loss of his own early love, Sarah Elmira Royster, [22] or of his birth mother Eliza Poe. [44]
Love Is Not All: It Is Not Meat nor Drink is a 1931 poem by Edna St. Vincent Millay, written during the Great Depression. [1]The poem was included in her collection Fatal Interview, a sequence of 52 sonnets, appearing alongside other sonnets such as "I dreamed I moved among the Elysian fields," and "Love me no more, now let the god depart," rejoicing in romantic language and vulnerability. [2]
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