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Journal articles on the topic 'Love in literature. Tamil poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

Subbulakshmi, S. "Sambandhar - A Cognoscente in the Field of Fine-Arts." Shanlax International Journal of Arts, Science and Humanities 8, no. 4 (April 1, 2021): 70–74. http://dx.doi.org/10.34293/sijash.v8i4.3630.

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Thirugnana Sambandhar is a multifaceted personality. He is a Saint, Poet, Philosopher, Composer, Scientist, Mathematician, Musician of the 7th century. He has no parallels in the poetic world. Indian poetry has its root dating back to the Vedic times. His poetry for decades has reflected diverse spiritual traditions within India and in many Foreign Countries. He had penned down amazing poetic structures through his mystical experience. His vision, lyrical skills, technical expertise, command over Language, Vocabulary, word-play, meters, Imagery, attitude, love towards his mother tongue are uncomparable. Ultimately he is the Epitome of Tamil Literature.

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2

Frost, Christine Mangala, and A. Mariaselvam. "The Song of Songs and Tamil Love Poems, Poetry and Symbolism." Vetus Testamentum 41, no. 2 (April 1991): 255. http://dx.doi.org/10.2307/1518919.

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3

Brenner, Athalya. "To See Is To Assume: Whose Love Is Celebrated in the Song of Songs?1." Biblical Interpretation 1, no. 3 (1993): 265–84. http://dx.doi.org/10.1163/156851593x00160.

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AbstractThree characteristic features of the Song of Songs are its (a) disjointed or absent plot, (b) gynocentrism and (c) lack of theocentrism. Recognition of these features facilitates a reassessment of the book's allegorical readings, be they ancient or modern, Jewish or Christian, religious or ostensibly secular. The principal readings discussed are Rabin's reconsideration of the Song's intrinsic allegorical properties with reference to Tamil love poetry; M. Cohen's on the Song and Jewish mystical literature (the Shiur Qomah and Hekhalot Rabbati); Murphy's position of reading mutually reflected human love and divine love in the Song; Pope's identification of the Song's assumed, single female protagonist as a black goddess; and Fox's rejection of allegory because of his definitions of metaphor, metaphoric distance and meaning. In conclusion, some reflections on the (ancillary) development of the Jewish allegorical tradition and its links with the Song's cannonization are offered.

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4

Sathya, S., and A. Sathish. "Kurunthogai Kurinchithinaiyil Thozhi Kootril Uvamaikal." Shanlax International Journal of Tamil Research 4, no. 4 (April 1, 2020): 109–15. http://dx.doi.org/10.34293/tamil.v4i4.2411.

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The article focuses on the Kurinichithinaiyil Thozhi Kootril Uvamial in Kurunthogai. ‘Kurunthogai’ is a classical Tamil poetic work in the second book of the “Ettuthogai” (Eight Anthologies). It is content matters were poem contains love and separation. Content matters were written by numerous authors. The ancient Sangam literature had witnessed the life style of the people in five phases of lands as Kurunji, Mullai, Neithal, Palai and Marutham. The first land surface is mountains and hills and the places is termed as ‘Kurunchi’. There are many Uvamais in Kurunthogai. This research paper explains the Uvamais found in ‘Kurunthogai Kurinji Thozhi Kottru Songs’.

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5

Sathya, S. "குறுந்தொகையில் முல்லை மற்றும் மருதத்திணையில் தோழி கூற்றில் உவமைகள்." Shanlax International Journal of Tamil Research 5, no. 1 (July 1, 2020): 41–49. http://dx.doi.org/10.34293/tamil.v5i1.3402.

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The article focuses on the Mullai and Marudha Thinaiyil Thozhi Kootril Uvamial in Kurunthogai. ‘Kurunthogai’ is a classical Tamil poetic work in the second book of the “Ettuthogai” (Eight Anthologies). It is content matters were poem contains love and separation. Content matters were written by numerous authors. The ancient Sangam literature had witnessed the life style of the people in five phases of lands as Kurunji, Mullai, Neithal, Palai and Marutham. The first land surface is mountains and hills and the places is termed as ‘Kurunchi’. There are many Uvamais in Kurunthogai. This research paper explains the Uvamais found in ‘Kurunthogai Kurinji Thozhi Kottru Songs’

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6

M, Devi, and Balasubramaniyan S. "The work and life of Namakkal Kavignar Ramalingam through my story book." International Research Journal of Tamil 3, no. 4 (September 11, 2021): 50–57. http://dx.doi.org/10.34256/irjt2147.

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Various types of literature in Tamil have appeared and developed over time. Literature refines our lives. The literature that appeared in each period is able to reveal the living environment of the people of the respective period. Sangam Literature, Sangam Forgotten Literature, Devotional Literature, Folk Literature, Short Story, Novel, Renewal Poetry, Drama, Prose Literature. In this order his historical literature appears and develops. Her history is a collection of events that took place in a person's life. Traces of his historical literature can be found in the Sangam literature. When he and his friend Kopperuncholan, who was dying in the north, went to die in the north, many witnesses there asked why he had not lost his hair for so long. He has the best character wife in life, and people. He says that the Evelars who do not say what he thinks, and that the king is a good protector. And in our town live many learned, virtuous, well-meaning people with goals and principles. So I don't care. So he says I don't have gray hair. Through this, the news about Pichirantaiyar, his hometown, the witnesses in Avur, the people, the king and the evildoer are revealed. And he records through his songs that he lived a quiet contented life without any problems or interruptions. The above biographical notes are able to know the capital of his historical literature. Autobiography is written by a wide variety of writers, political leaders, scholars, and writers from all walks of life. One of the most significant of these biographies is considered to be that of the poet Ramalingam Pillai. The poet Ramalingam of this book is not only talking about the child's own life. Rather it speaks to the community as well. Because the poet Ramalingam Pillai has expressed in his works that he loved this community and what he experienced in his life. In particular, many of the events under the headings of Prayer, Thirukkural Pride, Gandhi, Nattukkummi, Feminism, Bharathidarshanam can be traced back to his works.

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7

Subramanian, Kumaran. "Plant Creepers in the Ancient Tamil Love Poetry." Journal of Indian Studies 6, no. 1 (July 1, 1996): 35–46. http://dx.doi.org/10.22452/jis.vol6no1.3.

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8

Ramakrishnan, E. V., and M. S. Ramaswami. "Modern Tamil Poetry." World Literature Today 64, no. 3 (1990): 528. http://dx.doi.org/10.2307/40146832.

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9

Sivanarayanan, Anushiya, and N. T. Rajkumar. "Translating Tamil Dalit Poetry." World Literature Today 78, no. 2 (2004): 56. http://dx.doi.org/10.2307/40158413.

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10

Chandran, K. Narayana, S. K. Sareen, and Kapil Kapoor. "South Asian Love Poetry." World Literature Today 70, no. 3 (1996): 760. http://dx.doi.org/10.2307/40042309.

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11

Young, R. V. "Love, Poetry, and John Donne in the Love Poetry of John Donne." Renascence 52, no. 4 (2000): 251–73. http://dx.doi.org/10.5840/renascence20005246.

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12

Armani, David, and Louise Gormley. "Persian Love Poetry." American Journal of Islam and Society 25, no. 1 (January 1, 2008): 136–38. http://dx.doi.org/10.35632/ajis.v25i1.1503.

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This little book is a beguiling collection of Persian love poems drawn fromboth classical and modern poetry, but united by the theme of love in its myriadinterpretations. Included are poems that explore the spiritual lovebetween humans and God, the magical love between lovers or spouses, theaffectionate love between family members and between friends, and eventhe patriotic love for one’s homeland. Each poem is accompanied with a preciousPersian chef d’oeuvre from the British Museum and, in particular, numerous illustrations of Persian miniatures. The editors come to this subjectwith vast expertise: Vesta Sarkhosh Curtis is curator of Islamic andIranian coins in the British Museum, and Sheila R. Canby is an assistantkeeper in the British Museum specializing in Islamic Iran. Both have publishedon Persian art, art history, archaeology, and myths, among other topics.Their aim is not to produce a well-researched and exhaustive collectionof Persian love poetry, but rather “to encourage readers to delve further intothe wealth of Persian literature” (p. 5). With its modest aim of capturing theinterest of novice western readers, theirs is a delightful book that charms itsway to success.As explained in the “Introduction,” Iranians and other Persian (Farsi)speakers treasure poetry not only because of the beauty of the poetic languageitself, but also because they derive joy and comfort from the poets’ perspectivetoward the world. The most famous Persian poets often have a mystical(Sufi) viewpoint toward life, whereby passion is a path to reach God and thetruth. Interwoven into the people’s social consciousness, poetry holds arevered place in Persian culture. A single verse from the best-known Persianpoems can capture an idea with elegant brevity. Iranians and other Persian(Farsi) speakers still recite poetry as a succinct and powerful way to expressa point, thought, or emotion. To explain how deeply embedded poetry is inthe Persian psyche, many oft-quoted proverbs draw much of their meaningand message from Persian poetry ...

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13

Gatta, John. "Richard Wilbur's Poetry of Love." Renascence 45, no. 1 (1992): 3–15. http://dx.doi.org/10.5840/renascence1992/1993451/220.

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14

Hancock, Tim. "The Chemistry of Love Poetry." Cambridge Quarterly 36, no. 3 (January 1, 2007): 197–228. http://dx.doi.org/10.1093/camqtly/bfm004.

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15

Silviu-Dan, Fanny, and Keith Woodhouse. "Poetry." Critical Survey 30, no. 2 (June 1, 2018): 120–22. http://dx.doi.org/10.3167/cs.2018.300207.

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16

Pintarič, Miha. "Hate Speech and French Mediaeval Literature." Acta Neophilologica 51, no. 1-2 (November 21, 2018): 63–70. http://dx.doi.org/10.4312/an.51.1-2.63-70.

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Hate speech is spoken or written word which expresses a hostile attitude of a dominating majority towards any kind of minority. The author analyses a few examples of hate speech in literary history and concludes that such a phenomenon is typical of The Song of Roland, whether uttered in a direct way or spoken between the lines. One will expect hate speech in epic and heroic poetry, less in the Troubadour poetry. Yet we come across this awkward characteristic even in their love poetry. To be quite clear, in the poetry of Bernart de Ventadorn. The last part of the article is about the courtly romance. The author concludes that hate speech can only be controlled by love, not any, but the love that makes one a better person, and which the Troubadours called fin’amors.

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17

PERRIAM, CHRISTOPHER. "METAPHORICAL MACHISMO: NERUDA'S LOVE POETRY." Forum for Modern Language Studies XXIV, no. 1 (1988): 58–77. http://dx.doi.org/10.1093/fmls/xxiv.1.58.

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18

Gaylard, Gerald. "LOVE IN THE TIME OF ILLNESS: DAMBUDZO MARECHERA'S LOVE POETRY." English Studies in Africa 50, no. 2 (January 2007): 89–100. http://dx.doi.org/10.1080/00138390709485251.

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19

Gardner, Thomas, and Eric Murphy Selinger. "Meeting Apart: Love in American Poetry." Contemporary Literature 41, no. 2 (2000): 368. http://dx.doi.org/10.2307/1208765.

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20

Thorn, Cynthia A. "The Poetics of Ambiguity in Tamil Society:Notes on Love in a Tamil Family." Anthropology Humanism 18, no. 2 (December 1993): 83–84. http://dx.doi.org/10.1525/ahu.1993.18.2.83.

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21

Sider, David. "The Love Poetry of Philodemus." American Journal of Philology 108, no. 2 (1987): 310. http://dx.doi.org/10.2307/294819.

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22

S, Ilamaran. "Theories of Theology in the Letters of Thirumangai Alvar." International Research Journal of Tamil 3, S-2 (April 30, 2021): 135–39. http://dx.doi.org/10.34256/irjt21s227.

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After the 6th century in Tamil literature, Saivism and Vaishnavism were the most prevalent in tamil literature, and the hymns of the Alvars developed a variety of new techniques and theories for devotion. Thirumangai Alvar has sung a letter with him as heroine and Lord as hero. In the Sangam tamil literature, 'Madal Climbing' is seen as a male only, Thirumangai Alvar makes himself a woman and falls in love with Lord Vishnu and expresses his love for the Lord by climbing the lobe. Like Thirumangai Alvar, periyazhwar has made himself a mother and composed songs using Vishnu as a child. This technique is transformed from the grammar of Tamil. He who achieves happiness will receive virtue and wealth. Tirumangai Alvar says that it is best to see The lord in this world and enjoy it. The object of this article is to study the pleasures of life and the principles of theology of the heavens.

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23

Abramson, Glenda. "The Love Poetry of Yehuda Amichai." AJS Review 11, no. 2 (1986): 221–49. http://dx.doi.org/10.1017/s0364009400001707.

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If Yehuda Amichai does not use as topics for his work all three of those that Dante considered fundamental to poetry, salus, venus, and virtus, the second, venus, appears as a pervasive theme, perhaps the most pervasive throughout his work, revealing a consistency of idea which has unfailingly moved through the structured verse of the early volumes to the less tersely conceived poems of later years. One of the primary topics of his poetry is the alteration of love within a variety of contexts: time, war, youth and maturity, memory and religion. Love is the framework in which most of the events of the poetry take place, and it is itself celebrated or mourned in a number of long lyric cycles, particularly in the early books, written between 1948 and 1968.

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24

Gowers, Emily. "Vegetable Love: Virgil, Columella, and Garden Poetry." Ramus 29, no. 2 (2000): 127–48. http://dx.doi.org/10.1017/s0048671x00001624.

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In 65 CE, a Spanish writer appointed himself Virgil's heir and stepped into a breach that did not really exist. L. Iunius Moderatus Columella chose to attach to his self-styled prose ‘monument’ of agricultural instruction an ornamental didactic poem on gardening, to fill the gap apparently left by Virgil at the start of Georgic 4. The result has been regarded for the most part as a misguided experiment, an uninspired pastiche of clippings and half-lines from a greater poet. Yet in recent years, as part of the wholescale rehabilitation of ‘second-rate’ Latin literature, it has begun to be considered in its own right. Why is this forgettable poem worth another look? Partly because it exists and is average: it tells us how Virgil himself was read in antiquity, and how one middling writer responded to a particular task with its own set of rules. But it is also a surprisingly ambitious poem, a showpiece in which Columella concentrates all his resources, to give his immediate readers Silvinus and Gallio a ‘taste’, in his own words, of his poetic gifts. He takes an unpromising subject and overcompensates by making something new and monstrous out of it. It is not often that artichokes and cucumbers are forced into such lurid focus.

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25

R, Devendhiran. "Structural approach of Sangam Poetry." International Research Journal of Tamil 3, S-1 (June 16, 2021): 144–49. http://dx.doi.org/10.34256/irjt21s123.

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If a linguistic information is considered a literary work it means that it has a structure of its own. It is not possible to consume literature without a copy of this descriptive system. It was on this basis that the poet's approach to perceiving the internal form of life with its external forms in the language system also appeared. Every art has form and meaning. Form reflects the excellence of literature from the external system and the material internal system. Exploring such a literary structure in a structural approach becomes a necessary one. Anatomy is found only in Tamil as a new dialect. Because Thoughts such as exploring the structure of songs and defining their elements can be seen in the Tamil world before this review. The verb elements spoken in Tholkappiya porulathikaram set out to illustrate the structural nature of the poem. This seems to be close to the ‘overall’ thinking that the organizer refers to. This article explores the Sangapakal through such thinking and reveals the Thinai kotpadu found within them, as well as the structural structure of the Sangapakal, which the Sangapakal see as narrative poems.

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26

DOYLE, JENNIFER. "Jo March's Love Poems." Nineteenth-Century Literature 60, no. 3 (December 1, 2005): 375–402. http://dx.doi.org/10.1525/ncl.2005.60.3.375.

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At key moments in Louisa May Alcott's novel Little Women (1868-69) we encounter poetry written by the tomboy heroine, Jo March. This essay considers the place of those poems in a lesbian reading of the novel.

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27

Gillespie, Gerald. "Anna Balakian: For the Love of Poetry." Comparative Critical Studies 7, no. 2-3 (October 2010): 211–28. http://dx.doi.org/10.3366/ccs.2010.0007.

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28

Julius, Anthony. "Love Poetry and the Art of Advocacy." Critical Quarterly 39, no. 2 (July 1997): 3–22. http://dx.doi.org/10.1111/1467-8705.00095.

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29

Erickson, Peter. "The Love Poetry of June Jordan." Callaloo, no. 26 (1986): 221. http://dx.doi.org/10.2307/2931089.

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30

Parker, S., and P. Murgatroyd. "Love poetry and Apuleius’ Cupid and Psyche." Classical Quarterly 52, no. 1 (July 2002): 400–404. http://dx.doi.org/10.1093/cq/52.1.400.

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31

Hughes, Glenn. "Love, Terror, and Transcendence in Emily Dickinson’s Poetry." Renascence 66, no. 4 (2014): 283–304. http://dx.doi.org/10.5840/renascence201466421.

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32

Hashmi, Alamgir, and Darshan Singh. "Love at Every Step; My Concept of Poetry." World Literature Today 65, no. 1 (1991): 196. http://dx.doi.org/10.2307/40146383.

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33

Ganassi, Ian. "Poetry: I do not Love Thee Doctor Fell." Yale Review 88, no. 3 (July 2000): 87–88. http://dx.doi.org/10.1111/0044-0124.00426.

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34

Balganesh, Meenakshi. "Facets of life and society as depicted in Pillaitamizh literature." International Research Journal of Tamil 3, S-1 (April 24, 2021): 9–18. http://dx.doi.org/10.34256/irjt21s12.

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Pillaitamizh is a unique, short literary work in Tamil which stands out amidst the multiple short literary formats in Tamil language. Gods, Goddesses, Kings, Queens, nobles or learned teachers are personified as small children and the poetical work is structured as ten stages of growth starting from the first month after birth to about ten to twelve years of age. This format of poetry not only depicts the various beauties and nuances of Tamil language but also reflects upon the way of family life, different aspects of scientific thoughts, religious and philosophical norms, formats of worship, the psychology of the mother and the child to name a few. Some of these features are highlighted in this article and the conclusion that this is a complete and unique poetic structure par excellence is arrived at.

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35

Thayanithy, Murugu. "Feeling of love in Batticaloa folk songs." International Research Journal of Tamil 3, no. 4 (September 15, 2021): 108–21. http://dx.doi.org/10.34256/irjt21414.

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Literatures have been studied orally before taking written form. History makes it clear that such songs were written during the Sanskrit period. These oral literatures shed light on the life and history of a country and its flaws and serve as a mirror that reveals the cultures, customs, and ancient thoughts of the people. Although the study of folk songs on the world stage has been in vogue for a long time, it came into practice in Tamil Nadu in the 19th century and then came into the study. However, it has not been advanced as a separate discipline in the University of Sri Lanka to date. Instead, the study of folk songs is being carried out in collaboration with the Tamil Department.In the case of Batticaloa Tamil Nadu, the close connection between India and Sri Lanka due to migration, migration and migration from ancient times can be seen from the identification of Tamils as the first and last king of Sri Lanka.Therefore, it is possible to realize that folk songs are widespread among the people of Batticaloa as there was not only Tamil Nadu connection but also Indian national connection. The songs are arranged in the form of Ritual, Rain and Famine, Lullaby, Game, love, Marriage, Family, Community, Relationship and Career, Obpari, Swing, Satire, Mother Songs.These songs explore love songs, present the feeling of love found in them, show how they fit in with the general characteristics found in the literature of Sangala Agathi and reveal aspects of the Batticaloa socio-cultural hierarchy. The gist of the song is not to give a direct meaning, but to explain its essence. They are classified as motherly songs, Fatherly songs, Leader songs, Leader songs, Friend songs, and General songs.

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36

Snell, Ana Maria, and Julian Olivares. "The Love Poetry of Francisco de Quevedo." MLN 102, no. 2 (March 1987): 402. http://dx.doi.org/10.2307/2905700.

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37

Kaplis-Hohwald, Laurie, Julian Olivares, and Francisco de Quevedo. "The Love Poetry of Francisco de Quevedo." Hispanic Review 53, no. 2 (1985): 242. http://dx.doi.org/10.2307/473328.

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38

Jayalalitha. "Tamil Agathinai poems and Kannada folk songs - A comparison study." International Research Journal of Tamil 2, no. 4 (August 30, 2020): 16–23. http://dx.doi.org/10.34256/irjt2043.

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There is an emphasis in recent years on the study of literary and cultural parallel between Tamil and Kannada. This kind of research would enable one to arrive at Proto- Dravidian common cultural core. Anyhow my attempt is humble. I Try to make a comparison of the Akam (Love) poems. Which are found in Tolkappiyam and Sangam literature with some Kannada folk songs. Tolgappiyam says that the Akam poems of five division of land (Kurinji, Mullai, Marudam, Naidal and Paalai) should not mention the proper name of the characters. If we take a simple look at the different folk songs collection of Kannada, we note that there are no proper names of characters of such love songs. According to Tolkappiyam, the first grammar of Tamil, the concept of love is divided into ‘compatible love’ (anbin inthinai) and ‘incompatible love’ (porundha Kamam). We also come across such concept in the Kannada folk songs, which is explained in the theme of the song. There is a song of a man who is sitting on the bank of a river asking the girl permission to lean on her shoulder. The mention of a shoulder of a girl is a special feature mentioned in many Sangam poems.

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39

Borg, Gert. "Love Poetry by Arab Women A Survey." Arabica 54, no. 4 (2007): 425–65. http://dx.doi.org/10.1163/157005807782322445.

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AbstractPoetry by Arab women has often been neglected to a point, that many thought of it as hardly playing any role at all in the Arabic literary heritage, an exception being pre-Islamic marātī. This contribution tries to assess the importance of medieval love poetry by women in relation to Bauers far reaching conclusions about male love poetry in his Liebe und Liebesdichtung, etc. and its outline of Arab medieval "Mentalitätsgeschichte".The contribution that female love poetry offers to understand medieval Arab society is disappointing for two reasons:1. It is very much inspired by the everyday, almost banal vicissitudes that come with love;2. It hardly contains any wasf of the beloved, the means by which the poet(ess) might have been able to construct the necessary perspective to understand the emotional implications of love and passion and the intellectual reflection on it.

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40

Skenazi, Cynthia, and Jerry C. Nash. "The Love Aesthetics of Maurice Sceve. Poetry and Struggle." SubStance 21, no. 1 (1992): 145. http://dx.doi.org/10.2307/3685356.

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41

Selby, Martha Ann. "Tamil Love Poetry and Poetics. By Takanobu Takahashi. Leiden: E.J. Brill, 1995. xiv, 255 pp. $95.00 (cloth)." Journal of Asian Studies 56, no. 3 (August 1997): 839–41. http://dx.doi.org/10.2307/2659667.

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42

Nurhamidah, Idha. "Teen’s Anxiety Through Poetry: Love or Dream?" Dinamika Bahasa dan Budaya 13, no. 2 (October 30, 2018): 43–51. http://dx.doi.org/10.35315/bb.v13i2.6456.

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Teens are identical with instability and anxiety for which they need to express as their individual self-actualization. So far there have been no such efforts to accommodate their needs through literary works. The current study explores the dictions employed in English poems written by the students (identified as teens) of English Letters Study Program to find about how far a poem can be as a means for teens to express their feelings. The subjects were assigned to write poems of their interests. The 32 poems were then analyzed and interpreted to find out how most students expressed their anxieties in terms of love to parents, love to boy/girlfriends, friendship, hope, admiration, disappointment, encouragement, divinity and educational goals. The findings indicate that they turn out to be able to write poems when they are emotionally touched. In particular, they employed a limited range of lexical items to express their love to their parents, boy/girlfriends, in addition to love to their college in pursuit of their educational goals. As the general practice of teaching literature ending up with the students’ analyzing literary works, it is high time that they were assigned to write poems to express their feelings. Keywords: anxieties, poem, love, emotionally touched

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43

Abbott, H. "POETRY AND MUSIC: A DOOMED LOVE AFFAIR?" French Studies Bulletin 30, no. 113 (November 23, 2009): 84–87. http://dx.doi.org/10.1093/frebul/ktp033.

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44

Orsini, Francesca. "From Eastern Love to Eastern Song: Re-translating Asian Poetry." Comparative Critical Studies 17, no. 2 (June 2020): 183–203. http://dx.doi.org/10.3366/ccs.2020.0358.

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This essay explores the loop of translations and re-translations of ‘Eastern poetry’ from Asia into Europe and back into (South) Asia at the hands of ‘Oriental translators’, translators of poetry who typically used existing translations as their original texts for their ambitious and voluminous enterprises. If ‘Eastern’ stood in all cases for a kind of exotic (in the etymological sense of ‘from the outside’) poetic exploration, for Adolphe Thalasso in French and E. Powys Mathers in English, Eastern love poetry could shade into prurient ethno-eroticism. For the Urdu poet and translator Miraji, instead, what counted in Eastern poetry was oral, rhythmic and visual richness – song.

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Kerrigan, William, and Gordon Braden. "Milton's Coy Eve: Paradise Lost and Renaissance Love Poetry." ELH 53, no. 1 (1986): 27. http://dx.doi.org/10.2307/2873146.

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Kubi, Benjamin. "Department of Ghanaian Languages and Linguistics, University of Cape Coast, Ghana." International Journal of Comparative Literature and Translation Studies 6, no. 2 (April 30, 2018): 43. http://dx.doi.org/10.7575/aiac.ijclts.v.6n.2p.43.

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Love, as a subject, has received a lot of attention in literature, particularly poetry. This is probably because poetry is traditionally seen as the creative exploration and expression of an individual’s emotion and passion. A genre of Ga oral poetry that has love as its primary subject is the adaawe songs which are sung by Ga maidens. This paper examines an aspect of Ga women’s discourse on love in the songs. Particularly, it examines how love is bemoaned. This was done based on the premise that, as a creative exploration and expression of individuals’ emotions and passions, adaawe songs contribute a unique commentary on the subject of love. Songs which were recorded and transcribed, as well as songs collected from Hamond’s (1970) Obɔade Lalai were analysed, paying attention to content and style. The analysis revealed that love is usually bemoaned when there is lack of continuous interest in a persona by the other party in a love relationship, or when there is a betrayal of love.

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Kinkade, Richard P., Jorge Manrique, and Frank A. Dominguez. "Love and Remembrance: The Poetry of Jorge Manrique." Hispanic Review 58, no. 4 (1990): 519. http://dx.doi.org/10.2307/473663.

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Eckhardt, Joshua. ""Love-song weeds, and Satyrique thornes": Anti-Courtly Love Poetry and Somerset Libels." Huntington Library Quarterly 69, no. 1 (March 2006): 47–66. http://dx.doi.org/10.1525/hlq.2006.69.1.47.

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B, Periyaswamy. "Analyzing the Devotional Biology of Andalusian Lice - A Study." International Research Journal of Tamil 2, no. 2 (April 4, 2020): 119–30. http://dx.doi.org/10.34256/irjt20213.

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In the liturgy of Andal worship, administrative management is performed to create a plan, place, time, assurance, implementation, and so on. Love is one of the goals that God has set out to accomplish, because both love and devotion are matures of love for God. The love of the head of world relations is pure. Not selfish. Such a state of pure love is rooted in the pastures. Here, after the sixth century AD, vegetarianism had a profound influence on the political and the people. During the Vaishnavas, Thirumangai will become deep. Kulasekera and Alwar were kings. Nevertheless, in Tamil Nadu, the political status of vegetarianism has been very influential. The role of women in the history of the Tamil Bhakti movement was negligible. Andal was the forerunner and foremost of the women's role in their devotional movement. The piety of the year manifested as a deeper love than the piety of the subordinates of his time. He portrayed the romantic feelings of the world in different ways. This expression of sentiment is found in his devotional literature. The love between the leader and the leader evolves into a feeling of devotion to the Lord. Devotional literature regulates man and makes him live. It adheres to the norm with extremes and intuition, and lives from it. A pious morality with a high sense of purpose and a common purpose works in the interests of society. The purpose of this article is to illustrate how the pastures of this year describe the life of piety.

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Sconza, M. Jean, Frank A. Dominguez, and Jorge Manrique. "Love and Remembrance: The Poetry of Jorge Manrique." South Central Review 8, no. 2 (1991): 111. http://dx.doi.org/10.2307/3189203.

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