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However few of them there are that can be stilled. Cavafy, famous for poems of illicit rendezvous, had this advice for writers in his poem "When They Come Alive": Through windows, and through curtains, call on us?įor the contemporary take on these traditional forms, Frank O’Hara astutely observed that there’s a natural inclination for poets to "show off" for their lovers in his mock-manifesto "Personism," he writes, "As for measure and other technical apparatus, that’s just common sense: if you’re going to buy a pair of pants you want them to be tight enough so everyone will want to go to bed with you." C.
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John Donne’s poem, " The Sun Rising," is one of the earliest examples: The companion piece to the carpe diem poem might well be the aubade, a form in which the poet begs his lover to stay in bed and mourns the rising of the sun because it means that they must part. In reply to Christopher Marlowe’s shepherd, who begged his nymph to "Come live with me and be my love," Sir Walter Raleigh let his nymph knowingly reply: The form has inspired both imitations and satires. Perhaps the most famous example is Robert Herrick’s poem, " To the Virgins, Make Much of Time" where he begins, "Gather ye rosebuds while ye may." Another famous example is Andrew Marvell’s argument in " To His Coy Mistress," Other arguments range from the existential to the absurd, and poets make their points persistently in an astounding variety of ways, using every metrical and technical device to show off their wit and prowess. The phrase " carpe diem," from a quote by Horace, means "seize the day," and is often used to describe persuasive poetry designed to convince the object of the poet’s desire to make love-for time is short, as the argument goes, and anything might happen. In the first century BC, Catullus wrote his lyrics to Lesbia, pleading with her to ignore the gossip of old men and instead share thousands of kisses, so many that they lose count:Īnd let us judge all the rumors of the old men M.M.Poets have long been using their poems to aid their passionate pursuits. “Shall we swear to each other one day?” Although Women in Love’s not-so-subtle homoeroticism caused it to be banned in Turkey, it’s now widely considered Russell’s most stirring work.
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“We ought to swear to love each other, you and I-implicitly, perfectly, finally, without any possibility of ever going back on it,” he says after their wrestling match. Yet as both relationships deepen and, in the case of Gudrun and Gerald, begin to warp, Rupert comes to understand that he wants more than a workaday friendship from Gerald. Ursula loves the dashing Rupert (Bates), a school inspector, and Gudrun loves Gerald (Reed), a local industrialist and Rupert’s close friend. Lawrence-is principally about the courtships of two sisters, Ursula (Jennie Linden) and Gudrun (Glenda Jackson, in an Oscar-winning role). Perhaps best remembered for a scene in which Alan Bates and Oliver Reed wrestle naked before a roaring fire, Ken Russell’s Women in Love-adapted by Larry Kramer (yes, that Larry Kramer) from the 1920 novel by D. Oliver Reed, Glenda Jackson, Alan Bates, Jennie Linden, and Eleanor Bron in Women in Love.