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"She Walks in Beauty" is a short lyrical poem in iambic tetrameter written in 1814 by Lord Byron, and is one of his most famous works. [2] It is said to have been inspired by an event in Byron's life. On 11 June 1814, Byron attended a party in London. Among the guests was Mrs. Anne Beatrix Wilmot, wife of Byron's first cousin, Sir Robert Wilmot ...
"An Arundel Tomb" is a poem by Philip Larkin, written and published in 1956, and subsequently included in his 1964 collection The Whitsun Weddings. It describes the poet's response to seeing a pair of recumbent medieval tomb effigies with their hands joined in Chichester Cathedral .
The use of the star imagery is unusual in that Keats dismisses many of its more apparent qualities, focusing on the star's steadfast and passively watchful nature. In the first recorded draft (copied by Charles Brown and dated to early 1819), the poet loves unto death; by the final version, death is an alternative to (ephemeral) love.
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]
The first stanza of the poem introduces a young girl, the narrator of the poem, who describes her life through childhood imagery of playfulness and innocence. It recounts how she married her husband when they were both very young and innocent. She was shy and seemed unhappy as she didn't respond when spoken to and kept her head bowed.
A Struggle between Religion and Love, in an epistle from Abelard to Eloisa by Sarah Farrell (1792). [27] Abelard to Eloisa by Lady Sophia Burrell (1753-1802), written in heroic couplets and published as "by a lady" in her Poems (1793). This showed itself hostile to monasticism and neglected to portray the setting as mediaeval. [28]
The poem discusses love, sex, and marriage, but it is not done in the form of a love poem. Instead, it compares love with an Aeolian harp, which is a symbol of poetry. In terms of the relationship described, the desire expressed during an engagement with Fricker is described as innocent.
Although nature shapes Lucy over time and she is seen as part of nature herself, the poem shifts abruptly when she dies. Lucy appears to be eternal, like nature itself. [89] Regardless, she becomes part of the surrounding landscape in life, and her death only verifies this connection. [90]
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