Erotic Poems By Easy

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Unclasp it like jewels, the gold still hot from your body. Empty your basket of figs. Spill your wine.

The uses of erotic poetry

That hard nugget of pain, I would suck it, cradling it on my tongue like the slick seed of pomegranate. I would lift it. At the touch of you, As if you were an archer with your swift hand at the bow, The arrows of delight shot through my body. Come, Madam, come, all rest my powers defy, Until I labour, I in labour lie. Unlace yourself, for that harmonious chime, Tells me from you, that now it is bed time. Off with that happy busk, which I envy, That still can be, and still can stand so nigh.

Licence my roving hands, and let them go, Before, behind, between, above, below.

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O my America! To enter in these bonds, is to be free; Then where my hand is set, my seal shall be. Full nakedness!

Exploring the world of erotica with an open mind, through poetry, story telling and more.

Then since that I may know; As liberally, as to a Midwife, shew Thy self: cast all, yea, this white linen hence, There is no penance due to innocence. Whatever happens with us, your body will haunt mine—tender, delicate your lovemaking, like the half-curled frond of the fiddlehead fern in forests just washed by sun. Your traveled, generous thighs between which my whole face has come and come— the innocence and wisdom of the place my tongue has found there— the live, insatiate dance of your nipples in my mouth— your touch on me, firm, protective, searching me out, your strong tongue and slender fingers reaching where I had been waiting years for you in my rose-wet cave—whatever happens, this is.

Coming together it is easier to work after our bodies meet paper and pen neither care nor profit whether we write or not but as your body moves under my hands charged and waiting we cut the leash you create me against your thighs hilly with images moving through our word countries my body writes into your flesh the poem you make of me.

Touching you I catch midnight as moon fires set in my throat I love you flesh into blossom I made you and take you made into me. The first time we made love I realized why I never prayed. One human can only say Oh God so many times. Last night I slept, and when I woke her kiss Still floated on my lips.

For we had strayed Together in my dream, through some dim glade, Where the shy moonbeams scarce dared light our bliss. The air was dank with dew, between the trees, The hidden glow-worms kindled and were spent. Cheek pressed to cheek, the cool, the hot night-breeze Mingled our hair, our breath, and came and went, As sporting with our passion.

This could be sleep? And love be thrall to death!

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Nay, whatso seem, Have faith, dear heart; this is the thing that is! If only he could touch her, Her name like an old wish In the stopped weather of salt On a snail. He longs to be. Words, juicy as passionfruit On her tongue. Rise out of ashes of the yew, To step from the naked Fray, to be as tender As meat imagined off. Wyatt and Surrey translated and imitated many Petrarchan sonnets, as well as producing sonnets and other lyrics of their own. Wyatt and Howard were noble writers writing for a limited courtly audience, and their poetry circulated in manuscript among select groups of readers rather than in print.

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Manuscripts such as the Devonshire Manuscript, which is also the source for many poems attributed to Wyatt, show how aristocrats and their friends would collect and circulate poems together as an enjoyable social activity. Although literary texts were increasingly published in print later in the 16th century, poetry in manuscript continued to play a role in court life.

Composing skilful and accomplished poems on love and other subjects was one way that aspirational and mostly male would-be courtiers could demonstrate their wit, learning and worthiness — not so much for service as lovers, but for positions of favour and influence. In , the printer and bookseller Richard Tottell printed some of their poems in his innovative verse anthology Songs and Sonnets. This bestselling book introduced new verse forms, genres and courtly lyrics to a much wider readership.

The love poetry in these collections is often in the form of single poems, rather than in longer arrangements or sequences. Many of these sequences depict male poet-lovers pining after unavailable and under-described ladies, and focusing on their own pain and subjectivity, but poets also subverted these conventions.

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For modern readers, too, Renaissance love poetry is at once familiar and surprising — for the variety of loves and desires, romantic and otherwise, celebrated and lamented in the poems, as well as for the diversity of their forms and settings. Vives, Education of a Christian Woman , trans. Her research interests are in classical mythology in Renaissance English writing, occasional drama and entertainments, material culture, and the poet Edmund Spenser.

She is currently completing a book on Hercules in sixteenth-century English writing. Love poetry in Renaissance England. Love poetry in the Renaissance often expressed sexual or romantic passion, but it could also serve a variety of political, social and religious ends.

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Emily Mayne explores the origins and development of Renaissance love poetry and the many forms it took. What is love poetry? Where did Renaissance love poetry come from? Continental influences: Petrarch, Laura and the sonnet The sonnet is likely to be the first poetic form that comes to mind for many people when they think about Renaissance love poetry.