Renowned Erotic Poetry Editor David Lehman Once Said, “Sexual

Now I intend to turn my attention to concrete examples from Walt Whitman's poetry to provide some evidence of that sexuality played an important role in his poetry, and there are possible readings to find traces for that. Of course, we cannot only rely on selected

Marie Howe created an ode for all the females that she had intimate relations with called “Practicing”. It backtracks to middle school as Howe ambiguously states the acts they performed. This poem is organized into ten separate couplet-stanzas without a rhyme scheme or a distinct meter. Her imagery does not contain specific details on the physical attributes of any of the girls or if there was one she really admired. However, the imagery goes into their sexual explorations with one another behind closed doors. By using metaphors and sentence structure Marie Howe creates imagery that is correlated with the form, and syntax that stays consistent with age.

The poet orders his listener to behold a “solitary Highland lass” reaping and singing by herself in a field. He says that anyone passing by should either stop here, or “gently pass” so as not to disturb her. As she “cuts and binds the grain” she “sings a melancholy strain,” and the valley overflows with the beautiful, sad sound. The speaker says that the sound is more welcome than any chant of the nightingale to weary travelers in the desert, and that the cuckoo-bird in spring never sang with a voice so thrilling. Impatient, the poet asks, “Will no one tell me what she sings?” He speculates that her song might be about “old, unhappy, far-off things, / And battles long ago,” or that it might be humbler, a simple song about “matter of today.” Whatever she sings about, he says, he listened “motionless and still,” and as he traveled up the

When Cohen’s audience listens to or reads the poem they can notice that a lot of pathos is being used. Immediately upon the first lines she addresses to the spectators “How do I tell you about human created hunger/ hopeless, no-end-in-sight/ when, perhaps, you just had a good meal/ and feel full and warm inside” (8-11) The audience here feels fault and sorrow within them. Cohen is saying that people say they

The poem “Seniors” by Alberto Ríos tells of one man’s experiences with imaginary girls. During high school students are go through puberty and are experiencing bodily changes and changes in feelings as well. But what change this poem mostly goes in depth with is the increase of sexual feelings towards the other gender in the perspective of a male. The narrator talks about his classmates, he provides us with a glimpse of what it means for males to develop sexual feelings. However, once the narrator starts talking about himself is when the poem begins to unfold. You understand that the poem is mostly about masturbation, Ríos argues that an imaginary girl is as good as if not better than having sex with a real girl.

Sexual transgression and sexual exploration is one of the most highly talked about topics in today’s society. The path to sexual liberation within society begins with experimentation and exploration, followed by personal acceptance, and finally, although not always, societal acceptance. Although we have come a long way on the path of acceptance of different sexual transgressions, the stories of Kate Chopin’s The Awakening, Tennessee Williams’ “Vieux Carre,” and Lyle Saxon’s “The Centaur Plays Croquet” show that this type of acceptance has not always been the case. Each story plays an integral role when looking at the steps on the path to societal acceptance. Chopin 's story dives deep into the area of experimentation and exploration, whereas Saxon 's story looks more at the areas of personal acceptance, and Williams ' story lies more along the area of societal acceptance, and whether or not acceptance is always the end result.

'Sex Without Love,' by Sharon Olds passionately described the author's disgust for casual sex in which she vividly animates the immorality of lustful sex through the variety of her language. The sarcasm used in this selection can easily be misunderstood and quite confusing if the words and lines are not analyzed with specific construction. Olds' clever use of imagery and frequent uses of similes, to make the reader imagine actual events, makes this poem come to life. For example, Olds describes making love as 'Beautiful as dancers.' (Line #2) in this line, she questions how one can do such a beautiful act with a person whom one is not in love with. Olds also describes sex as 'gliding over each other

To do so, Levy turns to the experiences of several young women whom she interviews. From her interpretations of these experiences, Levy reaches the conclusion that these women’s sexual nature revolves around their need

The sound of poetry is the most important element than anything else involved with poetry. The sounds of poetry are basically a foundation of desire. It is how the syllables are arranged in a pleasant-sounding pattern to satisfy and please desires even if they have a small meaning or no meaning to them. A poem that is filled with sound but little meaning can be “The Word Plum” by Helen Chasin. It is a poem that uses the sound devices of alliteration and onomatopoeia to bring the plum to life. Using alliteration and onomatopoeia it gives the plum a sound, a savory sound, it’s almost like you can taste and touch the plum in the palm of your hand and the sounds are just rolling off the tongue with every “delicious” bite of “luxury”. In the first line there is just a brief description of how delicious the plum is, but wait there is more. Then Chasin uses alliteration in (line 2) with the two words “pout and push” because they begin with p’s, they’re verbs, four letters, and are not capitalized. Chasin also uses onomatopoeia with the second line, same words “pout and push” to give a new sound of delicious from the first line, and to explain why the plum is so delightful. Once more, she uses alliteration in the third line using “self-love and savoring”; creating that delightful sound of juices from the plum.

The erotic has been a source of major discussion within queer and feminist theories. Indeed, much of the discussions surrounding homosexuality or queerness in general focus on ideas of sexuality and the erotic. It has been recognized as of late as a major force in people’s lives, something that permeates nearly every aspect of their lives. However, with the rise of discussions surrounding the erotic, the concept of the nonerotic has been left by the wayside, so to speak. There are many discussions surrounding the erotic that give no space for those who may not identify with the erotic in any way. This is seen in a variety of theories concerning the erotic. This work will identify some groups which may not embrace or experience the

To understand the stories, songs, and poems of a people, one must place into context the ideas, faith and practices of said people; in order to understand why a group has decided to express themselves in the way they have, one must see the influence their culture holds. The ancient Near-East love poems beautifully illustrate the sexuality of the people. The ancient Near-East used erotic poetry to encouraged sexual encounters; and through this art form where they able to connect with nature, fulfill needs and obligations and connect to their divine or human selves. “Lovers communicate only through the world, through metaphor…” (Grossberg, 2005). What may seem unappealing or even appalling by modern standards, represented the people of the past and their understanding of the world around them. Erotica was used to deliver messages of love, passion, desire and life. “The love poems describe an extended period of foreplay, frequently use evocative rather than explicit terms for body parts (references to the "vulva" are the main exception), and focus on the feelings of the female lover” (Carr, Kindle Location 1193, 2003), which allows for a glimpse into the lives of the ancient Near-Eastern peoples. And although the love poems embrace many similarities, it’s their differences that become a large factor in unveiling their overall essence.

The participants do not engage in amateurish relations, but instead engage in the activity of sex with expertise. The poem’s descriptions label them as being individuals worthy of admiration.

It is clear that Davis’s speaker in “The Risky Business Found in Romance” is an incredibly admirable erotic heroine given that the speaker in the Davis’s work represents various perspectives on love. Davis claims that love is fickle and poetry turns out to be over-worked, which this makes the author’s work full of emotions, life, passion and easy to comprehend. Apart from that, it should be noted that the poem serves as a dialogue between a reader and the speaker. Through this dialogue, the speaker presents the exploration of sexual modality via the candid inner voice of the speaker. The author created a strong relationship between the poet, speaker, and text, which is intimately expressed, making

Rhyme is found all throughout the poem and has a huge effect on the reader. Blake used rhyme and detail to create some more wicked thoughts of the Tyger in the readers mind. Each stanza is made up of two couplets. Because these couplets keep a steady going rhyme, we

Das’ poetry is “self centered and unabashedly sexual although the sexuality seems more fascinating to the poet because it is hers than because it is sexual.” Kumar remarks: