We were not into any sort of relationship but that's how she used to call me .. I just want to blieve dat dis is ur 'STORY' nt ur 'LIFE' bt alas I can't. . I work in TCS and I found it in my mail and forwarded to loads of my friend. p n p ~ ~ t c s rtprcsrntid: and also in thou pagcauritcs wcre paynted, thc thytgcs .. fivtry man uurrrb wrll by tbt paying for bis bullrr, t b ~ t bt parpsctb to br onr. . f m in marriagr: ftrr, companion: also used of the relationship of parent and child. Ginni Rometty, the CEO of IBM, announced the death of customer segmentation five years ago saying, "The shift is to go from the segment to.
But she took it as a very normal thing and I pretended the same. But there was nothing wrong in it and I enjoyed it. We grew more and more close to each other. She took care of me in every sense: On the next weekend she took me to Bangalore where she had done her engineering degree.
We met many of her friends, my friends and went to famous markets and malls of the city. One thing I could say, she had a very happening friend circle.
In the evening we went to a pub where both of us danced after gulping a couple of beer mugs. The dance grew more and more passionate with time. It was my first time in a pub but she was quite used to it. Next evening we left for Mysore which is a three hour journey from Bangalore. On the way, we talked about everything on the earth.
Then she kept her head on my shoulder and held me which I could say was half a hug. Everything was so nice and tender. Time seemed like flying. It was all over for me. Ground escaped underneath my feet.
No one spoke a word after that for next one hour. Why are you so quiet? I loved her and she loved someone else whom she was going to marry. I shook my head straight away. I thought she was just trying to change my mood. This was somewhat the reason but not the exact one.
So, last guess now. In fact clean bowled. Gaurav keswani think about it again. And this time she laughed. I asked the reason but again she laughed.
I was perplexed at her enigmatic laugh. Finally Geetha was mine. It was the happiest day of my life. We reached Mysore campus and again got busy into our same daily routine: Module tests came and went. Both of us were quite happy. We met her parents there who were very humble but her little sister was naughty like her. Now we had entered the last month of our training. The day for compre came. All of us cleared it but Geetha. Both of us were very depressed.
Actually compre is the most important part of the training. Now retest was the only hope for her. Retest was the very next day.
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We were going to classroom after dinner. And suddenly she started crying. I really love you. Everything would be ok. Can you do something for me? My whole life is yours. You know every one does it. I hope Even I can expect this much from my love. I was drowned into deep thinking because it was really risky, In fact very risky.
But on the other side was my love. Then I just looked into matter carefully that these people never count the number of candidates appearing for a test and how many are extra. The day came; we all were sitting in the class room.
I was sitting a bit far from her and finally we got the project. It was not at all tough for me. I started working on it and had completed almost half when Srikkanth.
M entered into the classroom. He was our batch owner, just like a class teacher in schools. It was a dead end to my career. She was looking as lovely and innocent as ever. But she too was badly shocked. Love had given me a special courage and I was doing it for my love, no one else. He looked at me straight away and called me. Srikkanth himself was shocked when he found me as the culprit.
Just Read Out: Once upon a time in infosys
But he was helpless as company is very strict against the cheating cases. It is a technique which constitutes an important form of literary communica- tion between poets and patrons. The poet-persona of Strozzi makes clear that he is a poet of shorter poems, of genera minora. The epigram constructs a marked relation and succession of classical authors, who are cited in connection with their hometowns. The association of poets with their hometowns is a typical feature of inner-poetic literary history, often used by both the poets themselves and their successors.
Quod si forte aliquis post ultima noscere fata Nos velit, in nostro haec marmore verba legat: Post elegos cecinit pastoria, Borsias illi Carmen erat, rupit mors opus. After elegies he sang pastoral songs; his was the poem Borsias; death interrupt- ed his work. Here he lies buried. Cecini pascua, rura, duces.
I 61 and XIV He then lists three steps in his poetic production elegies, bucolics and epicsthe highest of which — in accord- ance with the traditional hierarchic system of genres in antiquity — is epic poetry. In the same way Vergil climbs up the hierarchy of genres with his Eclogues, Georgics and Aeneid — bucolic, didactic and epic poetry.
The only poem in hexameters is presumably an imitation of the Panegyricus Messallae in the Corpus Tibullianum. As far as form goes, the collection clearly belongs to the tradition of Roman love elegy: A look at the implicit literary history evident in the intertextuality of the collection and the ref- erences it makes to tradition reveals interactions with ancient love poetry.
I 1 Strozzi describes his poetry like this: Invenies aliquid teneros hic praeter amores, Iudicio damnes quod minus ipse tuo. The reader will find teneros amores in this collection — and tener was one of the cen- tral adjectives of ancient love poetry. Ovid uses it in Ars 3. Tener also describes erotic verse in concreto cf. There are, for example, panegyric passages which conform, as we have seen, to the ancient tradition of col- lections of love poems.
Like Ovid, Strozzi uses his verse to justify his amatory poetry to the powers that be. His first elegy, for example, employs strategies of self-definition and auto-legiti- mization typical to ancient authors. Even in the very first lines of the opening poem, whose position alone lends it programmatic significance, Strozzi uses an ancient po- etical technique when he addresses the personification of a book representing his poetry or himself as poet.
Strozzi sends his to the duke of Ferrara: Vade igitur, nec te properantem proxima tardent Atria, magnanimi nobile regis opus; Book, go safely to the home of Ercole, for the benign palace has an accessible entrance.
Therefore go, and the near halls, the noble building of the magnani- mous king, will not retain you in your hurry. The first line of the Eroticon libri also serves as an immediate mark- er to patronage and its ancient tradition. Of course, Strozzi does not send the book to Rome Romam, in urbembut to the court of the Este family l.
In fact, the explicit of the first book is more of an epigram Erot. I 9combining once more programmatic passages from Ovid and Martial: Despice, parve liber, morsus livoris edaces, jam tibi Caesareo contigit ore legi. Maxima perpetuae referes praeconia laudis, carmina judicio si probat ille suo. If Caesar is appreciative in his judgment of the poems, you will pronounce great eulogies.
To some degree, the topic of love serves as a medium for other purposes, for poetic communication within a certain circle — just like the col- lections of ancient love poetry. The titles of the poems alone make it obvious that the puella is sometimes only a vehicle to discuss other topics, as in the following examples: It is not al- ways the emotional development which is at the centre of a poem and sometimes it is not even mentioned. He [Strozzi] views love from a certain distance, through the experience of the classical world.
Woman is still portrayed as a pagan goddess rather than as a person whom the poet can address directly. The Anthia of Strozzi has not emerged completely from the erudite world in which the poet has been educated and which he has absorbed so thoroughly. Strozzi was on occasion very faithful to his models of Roman love elegy — in his portrayal of the woman as stereotypical rather than individual, for example. The context in which he composed his poetry had a clear influence on the poems themselves.
Ercole recognized the tradition Strozzi alluded to and acknowledged its application to the court of Ferrara. By way of example, I cite the following poems: The title alone of Erot. I 6 Amica potitus gloriatur recalls the two poems of Propertius 2. I 6, several ancient reference texts are conflated: O quam me in viridi tecum recubare iuvaret Gramine fagus… Let others gather themselves as much gold as they want; for me it is enough to be able to satisfy my intense hunger and quench the thirst of summer with water from the river; it is enough to live in humble dwellings.
O, how much I would like to lie down with you in the grass under the beech. Here we find the Tibullan rejection of wealth in the bucolic tradition, and the bucolic position par excellence — lying in the grass under a tree — only that in Strozzi, the puella is in the grass with the poet tecum. Divitias alius fulvo sibi congerat auro line 5: O tantum libeat mecum tibi sordida rura atque humilis habitare casas … Verg.
Tityre, tu patulae recubans sub tegmine fagi Prop. I would rather have read my verse in the arms of a learned girl and have pleased her pure ears with my writing. Wenzelet seq. In a first step, I have pointed to intertextuality as a possible way in which Strozzi situated himself in a learned tradition; this included not only textual poetic memory, but also ancient poetic strategies in general.
In a next step, I will quote some exam- ples in which Strozzi can be seen explicitly writing a kind of inner-poetic literary his- tory. Abstulit ardentem Gallum formosa Lycoris; Carmine amatoris Cynthia clara sui est. These as companion came along Calvus and the soft Catullus and Anser, who sung their flames.
Beautiful Lycoris let the burning Gallus die. Nemesis lives because she was celebrated by the extraordinary Tibullus. Par fuit exigui similisque licentia Calvi, detexit variis qui sua furta modis. Cinna quoque his comes est, Cinnaque procacior Anser, et leve Cornifici parque Catonis opus. Yet wanton Catullus sang oft of her who was falsely called Lesbia, and not content with her he noised abroad many other loves in which he admitted his own intrigues.
Equal in degree and of the same kind was the license of diminutive Calvus, who revealed his own love adventures in various metres. With them Cinna too belongs and Anser, more wanton than Cinna, and the light poems of Cornificius and Cato. In these lines, Ovid refers to Catullus, Calvus and Anser. Strozzi combines several passages to write his catalogue of model poets. Propertius insistently expresses similar simple desires — to sing about his puella and earn her approval Pro.
After this implicit reference to Propertius, Strozzi makes explicit reference to some ancient predecessors Erot. Tyndaris Iliaco si dura fuisset amanti, Non ita e Moeonio carmine nota foret. Cyntia clara minus, Nemesisque obscurior esset, Sed facilis Nemesis, Cyntia mitis erat. Cynthia would be less famous and Nemesis more obscure, but Nem- esis was yielding and Cynthia was gentle.
Strozzi takes up a favourite motif of the Roman elegists: But Strozzi goes further, carrying out a selective transformation which is nearly an inversion. Houghtonet seq. Strozzi knew this, of course, but he cherishes hopes all the same. Spes facilem Nemesim spondet mihi — sed negat illa. Ei mihi, ne vincas, dura puella, deam.
The goddess Hope promises me that Nemesis will be yielding — but she Nemesis refuses. Atque, aliquid quoniam mihi semper amare necesse est, Succedet regnis culta puella tuis.
Digna erit illa meo fieri celeberrima versu, And, since I always need something to love, a learned puella will succeed your reign [i.
She will be worthy of being made very famous by my verse. The neu- ter pronoun aliquid to refer to the puella also occurs in Erot. VI 9 ad Carolum. The topic of succession in Strozzi is as prominent as in Ovid, not only where the puellae are concerned.
Strozzi is acutely aware of the way succession works. He knew that an author of love poetry in the tradition of Roman love elegy would be linked with his puellae — and that he himself, as a poet, was to no small degree a successor to the ancient love poets. Valerii Catulli Carmina, Oxford Shackleton-Bailey, David Roy edM. Gigliucci, Roma— Ein Konzept Zur Erforschung kulturellen Wandels, ed. Ein Konzept zur Erforschung kulturellen Wandels, ed.
The Oxford Handbook of the Elegy, ed. Karen Weisman, Oxford— Annali Online di Lettere — Ferrara 1 — 2— Journal of medieval studies Chappuis Sandoz, Laure ed. Wilkins, Lewiston19 — Social Reality or Literary Construction? A Companion to Roman Love Elegy, ed. Thorsen, Cambridge— From Catullus to Horace, Oxford