Inanna & Dumuzi And Song Of Songs Love Poetry

[Seven whole days] Seventh Stanza “Seven whole days” is an Egyptian love poem that was written in Ca.1300-1100 B.C.A. This poem is written in first person style, which refers to the narrator telling his point of view of what he feels and wants the reader to know and conclude. This Egyptian love poem is also referred as a lyric, which is a short 45 line or fewer poems that gives a unified impression using verbal music, emotion, imagery, and first person subjective views. As I read and analyze this 20 line love poem, I draw conclusions that, our narrator clearly has interest and expresses feeling about a beloved one that he hasn’t seen in seven whole days; our narrator is either distraught or depressed; and he merely could have a mental illness.

When analyzing ancient Egyptian love songs, what I firstly noted was that the concept of love was not stereotyped in being predominantly a masculine or a feminine concept. Both men and woman expressed their emotions of both pain and joy throughout (Fowler 1994:30). However, some contrast does exist in a few songs in that girls are portrayed as being more assertive, more dominant and taken more initiative than boys (Fowler 1994:40). This is clear as boys are never portrayed in addressing their loved one in the second person, rather in the third person and also, does not initiate action but rather sits and waits for action to come his way (Fowler 1994:62). Thus, these love songs provide us with an insight into the manner which couples behaved, and were viewed by others when in love. This view and understanding of love I believe is a direct reflection of the ancient Egyptian society where woman were seen as being sexually untrustworthy and men the slave to this sexual nature of woman.

romantic love celebrated in songs and romances of the Medieval Period. Moreover, being a code

Romance has been around for as long as human beings have been alive. The concept or romance changes through time and culture. In the Egyptian and Chinese ancient love poems, civilizations that seem distant from each other end up sharing similar concepts of romance. To them, a romance develops in steps which incorporate seeing their beloved from afar, trying to get to them, and alas having them. A closer look at both poems "My god, my Lotus…" and "Fishhawk", can show how two cultures characterize the steps it takes in order to acquire romance.

One of the overarching themes that spanned over the many books we read over the semester, was the nature of love and the search for meaning. Love is an inherent aspect of humanity, and while it is an often inexplicable and complex sentiment, it is intrinsically connected with mankind's search for meaning in life. Love often leads a person in directions that they do not expect, and this is obvious in the very different applications of love in different books. However, one common idea about the relationship between love, suffering, and wisdom, can be argued for based off the ancient texts that we read. In The Epic of Gilgamesh, Antigone, and The Tale of Genji, love is used as a vehicle for wisdom through suffering and loss.

Aphrodite represents erotic love as a fascinating form of divine influence. The nude Aphrodite has powerful meaning and

This book report is an analysis of the Egyptian Love Poem [ My god, my Lotus…], from the book, The Norton Anthology of World Literature, Volume A. Egyptian Love Poems date back to 1300-1100 B.C.E., they were written on papyri, potsherd, and flakes of limestone. Papyri are a sheet-like material that was made out of pithy stems from a water plant. Which was used to write or paint on in the ancient Mediterranean world, potsherd is pieces of broken ceramic material. The lovers in Egyptian Love Poems are young and tend to be under parental supervision, half the poem is spoken by the girl and the other half by the boy. [ My god, my Lotus…] uses imagery to describe the desires of love and how different types of love function within modern societies. This poem displays different perspectives of love and the reality of how love is viewed in most civilizations. Readers will learn that love is not exclusive to men and women, and how different forms of love can lead them to overcoming life obstacles.

Throughout the poem, Pages Matam explores the key ideas and issues of victim-blaming and silencing rape victims due to society’s taboo of speaking out about sexual, physical, and verbal assault. Matam effectively outlines the harmful idea that beauty determines your likelihood to get sexual assaulted, which society inflicts upon victims, as a constant motif throughout the poem in the lines “Tell Elisabeth Fritzl, how pretty the flame of her skin was”, using sophisticated imagery within an allusion to explore this idea, applying satire to show society’s glorification and romanticisation of sexual assault as society manipulates getting sexually abused to be perceived as a compliment, ignoring the true meaning and aspects of the issue. This idea

“How do they do it, the ones who make love without love?” (Line 1-2) This is the first question asked by Sharon Olds in her poem “Sex Without Love.” In today’s world, it is very common for two human beings to engage in sexual activity without sharing an emotional or intellectual connection with one another. Sharon Olds is a poet who is well known for creating very personal and emotional works of literature about family and relationship matters. The speaker of “Sex Without Love” could be Olds herself, but it could also be any person who shares the same beliefs and viewpoints on sex and intimacy. In “Sex Without Love”, Sharon Olds shows her superb use of poetic elements such as tone and language to portray a theme that insinuates

Anne Carson’s presentation of Sappho’s surviving poetry, Fragments of Sappho heightens the eroticism and same sex-desirability that Sappho is well known for. In the text, Sappho never explicitly engages in any sort of sexual activity or intercourse, whether with a male or female. Therefore, it is unknown as to whether she ever acted on her clear sexual yearnings. Carson’s editorial choices and translation of the text, however, intensifies the already stimulating and controversial thoughts of Sappho, making them not only more sensual but more profound.

The Greek goddess Aphrodite calls to mind ideas of sex, love, pleasure, and beauty. In the Greek language her name has generated the expression ta aphrodisia. The semantic field of this word points to what is called "sexuality"—that is, the set practices and imagery associated with sex. Aphrodite is the only Greek divinity whose name generates a word that designates her sphere of intervention. Two fields have to be investigated to understand this divine representation of sexuality: Greek literature carrying myths on the one hand and Greek cult practice on the other.

Mesopotamian theology defined the gods as rulers and human beings as their servants, with nature being an object to be managed for the profit and well being of both. Consequently, deity worship plays a significant role in both the daily and religious lives of the ancient population; the two are undeniably intertwined. One of the most important goddesses in the Mesopotamian pantheon, and the one with which this paper will be concerned, is Inana. As the Sumerian goddess of sexual love and warfare, Inana—or Istar, in Akkadian—embodies two of our most instinctive and impulsive drives, as demonstrated by Freud through Eros and Thanatos (Heffron). This, then, has given Inana her simultaneously creative and destructive qualities. Inana occupies a unique diatomic space encompassing characteristics of both the traditional female and male archetypes, making her one of the most complex deities, exhibiting contradictory, and even paradoxical, traits. In Sumerian poetry, she is sometimes portrayed as a coy young girl, and at other times as an ambitious and persistent goddess; this is the basis of her dual representation (Heffron). One consistent aspect in the text, however, is her sexuality. Therefore, this paper will explore possible responses to two primary questions: 1) how is Inana portrayed in various texts, and why is this significant? And 2) what can be learned about the nature of ancient Babylonian religion and its relationship to the people through her representation? By

In ancient Rome and Greece, love elegies were written on wax tablets. The tablets were not only used as a place for the poets to record their love elegies, but they were also used as love notes to send back and forth between lovers. Not only does Ovid use love tablets several times in his poems in the Amores, but before this, Propertius also used loved tablets in his poems. As many poets surely discuss these love tablets, Robert Baker has found a correlation between Ovid’s use of the tablets and Propertius’ use of the tablets. In Baker’s article Duplices Tabellae: Propertius 3.32 and Ovid Amores 1.12, he proposes that Ovid’s use of the love tablets is built off of Propertius’ early ideal tablets but in a duplices or deceitful way.

A love goddess is a deity associated with sexuality, love, fertility, beauty, and in some occasion’s death. These goddess are common in mythology and may be found in many polytheistic religions. Although there are vast differences among these goddess’, since they have to serve each particular culture’s needs, there are also many similarities that can be drawn to them. There are two love goddess’ that are believed to have many similarities, they are the Greek goddess Aphrodite and the Norse goddess Freya. Although these goddess’ have many differences some similarities are their appearance, lost lovers, a love of beautiful things, charm, an association with the sea, the day Friday and fish.

Two widely known ancient civilizations in history are those of the Greeks and the Egyptians. Both are famous in their history and favored by many. Each of these civilizations were built from the ground up, and they developed their own culture, practices, religions, and architectures. Although these two civilizations are similar in having this development, they differ significantly in each of these aspects of life. In this essay, we will observe the similarities and differences of Greek and Egyptian religion, as well as their attitudes towards women in this time.