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"I'm Like All Lovers" is a poem by Australian poet Lesbia Harford. [1] It was written in 1917, though first published in the poet's collection The Poems of Lesbia Harford in 1941 under the title "Poems XIV", and later in other Australian poetry anthologies.
Over half the poems in Shaker focus on love (specifically its inevitable loss) and doomed relationships. [38] Critic William Sylvester states that the metaphors in Angelou's poetry serve as "coding", or litotes, for meanings understood by other Blacks.
The metaphor of the "few leaves" [4] symbolizes the end of an era, hinting towards the dying of life. Yet, it is not life that died, but love. Yet, it is not life that died, but love. The next stanza explores deeper into the nature of their relationship: "Your eyes on me were as eyes that rove over tedious riddles of years ago."
The metaphor of Ovid as a soldier also suggests that Ovid lost to the conquering Cupid, and now must use his poetic ability to serve Cupid's command. [24] Cupid as a commander and Ovid as the dutiful soldier appears throughout Amores. This relationship begins to develop in I.1, where Cupid alters the form of the poem and Ovid follows his ...
"The Passionate Shepherd to His Love" (1599), by Christopher Marlowe, is a pastoral poem from the English Renaissance (1485–1603). Marlowe composed the poem in iambic tetrameter (four feet of one unstressed syllable followed by one stressed syllable) in six stanzas , and each stanza is composed of two rhyming couplets; thus the first line of ...
The poem uses the conceit of a flea, which has sucked blood from the male speaker and his female lover, to serve as an extended metaphor for the relationship between them. The speaker tries to convince a lady to sleep with him, arguing that if their blood mingling in the flea is innocent, then sexual mingling would also be innocent.
The poem features images typical of the Petrarchan sonnet, yet they are more than the "threadbare Petrarchan conventionalities". [1] In critic Clay Hunt's view, the entire poem gives "a new twist to one of the most worn conventions of Elizabethan love poetry" by expanding "the lover–saint conceit to full and precise definition", a comparison that is "seriously meant". [2]
British composer Roger Quilter set the poem to music in 1905 in the composition Love's Philosophy, Op. 3, No 1. In 2003, David Gompper set the poem to music in a score for baritone and piano. [3] Choral composer David N. Childs set the poem to music scored for a four-part women's choir and piano. [4]