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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]
Later in the 11th century, Ovid was the favourite poet of Abbot (and later Bishop) Baudry, who wrote imitation elegies to a nun – albeit about Platonic love. [36] Others used his poems to demonstrate allegories or moral lessons, such as the 1340 Ovid Moralisé which was translated with extensive commentary on the supposed moral meaning of the ...
CIL 4.5296 (or CLE 950) [a] is a poem found graffitied on the wall of a hallway in Pompeii.Discovered in 1888, it is one of the longest and most elaborate surviving graffiti texts from the town, and may be the only known love poem from one woman to another from the Latin world.
Being perfectly in love with God or Krishna makes one perfectly free from material contamination, and this is the ultimate way of salvation or liberation. In this tradition, salvation or liberation is considered inferior to love, and just an incidental by-product. Being absorbed in Love for God is considered to be the perfection of life. [66]
The collection comprises twenty love poems, followed by a final poem titled The Song of Despair. Except for the final poem, the individual poems in the collection are untitled. Although the poems draw inspiration from Neruda's real-life love experiences as a young man, the book is not solely dedicated to a single lover.
Bani Adam (Persian: بنیآدم), meaning "Sons of Adam" or "Human Beings", is a 13th-century Persian poem by Iranian poet Saadi Shirazi from his Gulistan. The poem calls humans limbs of one body, all created equal, and when one limb is hurt, the whole body shall be in unease.
The first lines of the poem in a manuscript dating from c. 1520. The poet opens by addressing the wind, calling it a strange being, going where it wills, and subject to none of the physical or legal restraints of ordinary human life. After praising it for its power the poet goes on to compare it to an author, a sower of leaves, and a jester.
Wordsworth's voice slowly disappears from the poems as they progress, and his voice is entirely absent from the fifth poem. His love operates on the subconscious level, and he relates to Lucy more as a spirit of nature than as a human being. [41] The poet's grief is private, and he is unable to fully explain its source. [42]