39 Confused In Love Poems by Teens - Poems on Being Unsure In Love
(If you want to read love poems that aren't just heartbreak poems, click here.) a confused old man driving in the rain E.E. Cummings is more famous for his sexytime poems than the ones about heartbreak, but one that I feel gets at the end of a relationship: this heartbreak happens as a realization. Related Poems Everyday, Every night it haunts me The feeling, the urge, the need To feel the pain, to hide away What really lies inside me. . You may have lost yourself, But not me. . Words cant seem to explain it Such confusing emotions. . I sit and wonder if i can be a mother Though in relationships your supposed. Confused poems written by famous poets. This page has the widest range of confused love and quotes. Confused And Lost Little Girl, Erin Hanson; 7.
If the poem is a question, what is the answer?
Confused about Love Poems
If the poem is an answer, what is the question? What does the title suggest? Does the poem use unusual words or use words in an unusual way? You can fall back on these questions as needed, but experience suggests that since each poem is unique, such questions will not go the necessary distance. In many instances, knowing who the speaker is may not yield any useful information. There may be no identifiable occasion that inspired the poem. But poems do offer clues about where to start.
Asking questions about the observable features of a poem will help you find a way in. Others say that no text exists in a vacuum. However, the truth lies somewhere in between. The amount of information needed to clearly understand depends on you and your encounter with the poem.
This is because poems are made of words that accumulate new meanings over time. Consider this situation, a true story, of a poet who found a "text" at the San Mateo coast in northern California. As she scrambled over rocks behind the beach, near the artichoke fields that separate the shore from the coast highway, she found a large smear of graffiti painted on the rocks, proclaiming "La Raza," a Chicano political slogan meaning "the struggle.
I understand, she wrote, why someone would write La Raza on the side of a building, or on public transport. There it would be seen and would shout its protest from the very foundations of the oppressive system. But why here, in nature, in beauty, so far from that political arena.
Then, one evening while reading the poem in Berkeley she got her answer. A man came up to her and asked her, "Do you want to know? The text was not out of place.
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But such a task is to some degree impossible, and most people want clarity. At the end of class, at the end of the day, we want revelation, a glimpse of the skyline through the lifting fog. Aesthetically, this is understandable. Some magic, some satisfaction, some "Ahhh! But a poem that reveals itself completely in one or two readings will, over time, seem less of a poem than one that constantly reveals subtle recesses and previously unrecognized meanings.
A life partner, a husband, a wife—these are people with whom we hope to constantly renew our love. The same is true of poems. The most magical and wonderful poems are ever renewing themselves, which is to say they remain ever mysterious. Too often we resist ambiguity. Perhaps our lives are changing so fast that we long for stability somewhere, and because most of the reading we do is for instruction or information, we prefer it without shades of gray. We want it to be predictable and easy to digest.
And so difficult poetry is the ultimate torment. Some literary critics would link this as well to the power of seeing, to the relationship between subject and object. We wish the poem to be object so we can possess it through our "seeing" its internal workings. Torment, powerlessness—these are the desired ends? The issue is our reaction, how we shape our thoughts through words. We have to give up our material attitude, which makes us want to possess the poem. We have to cultivate a new mindset, a new practice of enjoying the inconclusive.
Embracing ambiguity is a much harder task for some than for others. Nothing scares some people like the idea even the idea of improvisation as a writing or analytical tool. Some actors hate being without a script; the same is true of some musicians. Ask even some excellent players to improvise and they start to sweat. Of course, actors and musicians will say that there is mystery in what they do with a script or a score, and it would be pointless to disagree.
The point, after all, is that text is mysterious. Playing the same character night after night, an actor discovers something in the lines, some empathy for the character, that he or she had never felt before.
Playing or listening to a song for the hundredth time—if it is a great song—will yield new interpretation and discovery. Catullus 51 follows Sappho 31 so closely that some believe the later poem to be, in part, a direct translation of the earlier poem, and 61 and 62 are certainly inspired by and perhaps translated directly from lost works of Sappho.
'Feelings' poems - Hello Poetry
Both of the latter are epithalamiaa form of laudatory or erotic wedding-poetry that Sappho had been famous for but that had gone out of fashion in the intervening centuries.
Catullus twice used a meter that Sappho developed, called the Sapphic strophein poems 11 and In fact, Catullus may have brought about a substantial revival of that form in Rome. Catullus, as was common to his era, was greatly influenced by stories from Greek and Roman myth.
His longer poems—such as 63646566and 68 —allude to mythology in various ways. Some stories he refers to are the wedding of Peleus and Thetisthe departure of the ArgonautsTheseus and the Minotaur, Ariadne 's abandonment, Tereus and Procneas well as Protesilaus and Laodamia. Style[ edit ] Catullus wrote in many different meters including hendecasyllabic verse and elegiac couplets common in love poetry.
A great part of his poetry shows strong and occasionally wild emotions, especially in regard to Lesbia. Catullus describes his Lesbia as having multiple suitors and often showing little affection towards him. He also demonstrates a great sense of humour such as in Catullus Musical settings[ edit ] Catullus Dreams is a song cycle by David Glaser set to texts of Catullus. The cycle is scored for soprano and seven instruments. Catulli Carmina is a cantata by Carl Orff to the texts of Catullus.
Thomas Campion also wrote a lute-song using his own translation of the first six lines of Catullus 5 followed by two verses of his own. It was also set to music  in a three-part glee by John Stafford Smith. The American composer, Ned Rorem, set Catullus to music for voice and piano. The Icelandic composer, Johann Johannsson, set Catullus 85 to music.
The poem is sung through a vocoder.