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Poem 68 is a complex elegy written by Catullus, who lived in the 1st century BCE during the time of the Roman Republic.This poem addresses common themes of Catullus' poetry such as friendship, poetic activity, love and betrayal, and grief for his brother.
Poem 68b (= lines 41–160 of poem 68) is written for a certain Allius, who had apparently helped Catullus in his affair with Lesbia by providing them with a house to meet in. The poem contains the myth of the newly married Laodamia and Protesilaus. Inserted in this story is a lament for the death of Catullus's brother, who, like Protesilaus ...
When Coleridge's Poems on Various Subjects was reviewed, few reviewers paid attention to Lines Written at Shurton Bars. [15] John Aikin, in the June 1796 Monthly Review, states, "The most of [the 'poetical Epistles'], addressed to his 'Sara', is rather an ode, filled with picturesque imagery: of which the follow stanzas [lines 36–60] compose a very striking sea-piece". [16]
Catullus wrote in many different meters including hendecasyllabic verse and elegiac couplets (common in love poetry). A great part of his poetry shows strong and occasionally wild emotions, especially in regard to Lesbia (e.g., poems 5 and 7). His love poems are very emotional and ardent, and are relatable to this day.
Catullus 5 in Latin and English. Catullus 5 is a passionate ode to Lesbia and one of the most famous poems by Catullus. The poem encourages lovers to scorn the snide comments of others, and to live only for each other, since life is brief and death brings a night of perpetual sleep. This poem has been translated and imitated many times.
The poem opens with the possible bonds of friendship, and then kinship, between the parents. Then, it moves to bonds formed by two people learning and getting to know each other. From these abstractions, it comes to concreteness with the picture of red earth in the rain, drawing a parallel with the lover's journey from aloneness to union.
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Amoretti breaks with conventional love poetry in a number of ways. In most sonnet sequences in the Petrarchan tradition, the speaker yearns for a lover who is sexually unavailable. Not only is there a conflict between spiritual and physical love, but the love object is often already married; it is an adulterous love.
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