Restraint: Erotic Poetry
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Here is a case where the better one knows the ancient religion the easier it would be to understand this poem. He is at times called Love. This is not only a man, but it is only one man in each case. He appears in many poems as the man to whom the poet's narrative voice is speaking.
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Often they are directly broaching the subject of the wife's infidelity. Ovid gives the husband advice for handling this. The husband is do to this in more than one way. The general recommendation is tolerance. The poet describes ways for coping and provides the husband with reassurance that there will even be gains for him by this rather than losses if he will only heed the advice.
In some cases, Ovid explains, the woman needs only to lie and to deny this, thereby practicing what is known as discretion. The poet is not opposed to this, and suggests that the husband's role is to indulge his own wish to believe any lies and denials that his wife gives so that her infidelity will not disrupt his false, but cheerful belief in her fidelity. Further, Ovid explains that due to this toleration on his part, the wife will be able to endure his nights out with his friends.
Otherwise, she would not be able to endure being left out to this extent. Some form of personal indulgence strongly associated with pleasure is called for. The poet also tells the husband that his wife will be more popular and therefore he too will have greater social standing when his wife takes lovers. This will also enhance his social connections and he will be apt to receive at least some gifts, and be able to share presents that she receives from other men. There are other poems in which the husband is the one practicing infidelity. A poem about him denying this to his wife, is followed by one in which he discusses the affair his wife was referring to with the maid, only in this poem he is guilty.
There are poems within this work, thankfully, where the husband's main concern is his actual wife in a mutual way. The passion of a married couple amongst themselves is also valued. Lastly, the husband is shown "as rival" to some other man who is so interested in his wife. The other man is longing for kisses and hoping that the woman he desires will spurn her husband to his private satisfaction. This is the name of the son of a famous father-son pair. The father and son needed to escape Minos and did so through the use of flying devices the father made.
The son was lost during the flight because he became carried away with the ecstasy of the flight itself and in his excitement failed to abide his father's warnings. Here is a female character. The author is attempting to explain about the risks of distress in love. He refers to men who have developed bad reputations from dumping mistresses, and women who have suffered through them. He warns readers about falling into distress. In this context, there is a young woman he calls a girl.
Of her he has written, "That girl could snuff the undying Vestal fire, could loot Isis' temple of its sacred gear, or slip her lover a mixture of aconite and hemlock—who denies her favours after taking gifts!
This is a mysterious yet famous entity. It is a type of mystical being. The Muses are considered some type of presence that greatly inspires artists in their work. Each artist has his or her own Muse. This is also true in the case of Ovid. He refers to his own Muse in a small number of special locations throughout the Erotic Poems. This is a direct reference to one of the author's teachers. Macer was an experienced poet and teacher who traveled with Ovid when the latter was young and needing to learn more about how to be a high quality poet.
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He was an actual historical figure, rather than a fictional model. This is actually a reference to a number of women. Much like "husband," each is an individual and is addressed as such during the entire body of poetic works. Here mistress is almost another word for "lover'. Mistress is also used regardless of the relation between the man and the woman. This means that the woman is Mistress whether referring to her husband, or to servants, or to some lover who is not her husband, but is liable to have also been called this by other women, just as men often called superiors Master.
It is important to note that this was term of respect and that it did not have the negative connotations associated with distrust or bitterness against Master and Mistress. It was used amongst free people, citizens, and slaves. Here is another general but meaningful term referring to someone who is either sexually involved or people who are pursuing each other.
That is, two who are passing letters and building up towards either disunion or to sexual involvement; two who may be said to be engaging in romance, may be called "lovers. This is important since it can include those who use "proper decorum" and great restraint and refrain from sexual activity with others for reasons.
My last erotic poem
Youths having a romance who never go further than to sigh and hold hands can still be called lovers, but in the context of this poetry, lovers are often sexually involved. This is the god of metal working, especially the smithing rather than the mining and refining processes. He is the husband of Venus. He is reputed to be the father of Cupid, but there is some suspicion that Cupid may be the result of his wife's affair with the god of war, Mars. He is told of more under his wife's listing. So I had to be my own role model.
I turned to expressing erotic desires in Yiddish when, for the first time in my life, I found myself in a place where I could be Yiddish and lesbian at the same time. I had the good fortune, at that time, to be living and dreaming in Yiddish. Writing about my fantasies — and realities — in Yiddish felt natural. I quickly discovered that Yiddish is a great language for writing erotic poetry. It has such zaftig, squishy sounds: oys, oohs, and aahs that are unafraid to be expressed with gusto and with passion.
There is a way that Yiddish wraps itself around the tongue that makes you want to eat it up. The sensuous Yiddish sounds, along with an oral tradition of declaiming poetry with heart, passion, and nuance, makes reading erotic Yiddish writing a sheer delight. Reading erotic lesbian Yiddish poetry is both sexy and subversive. Not everybody responds well to hearing erotic words spoken in Yiddish, especially where those words describe sexual activities between women.
Reading to a disapproving audience can be disconcerting. I have learned to carefully choose the venues where I read erotic Yiddish poetry. This is not to say I will only read to approving audiences. It just means I make a conscious choice. Sometimes, you have to push the envelope. I find translating Yiddish erotica into English more challenging than other Yiddish-to-English translations, because of the way that sound can be so essential for setting and building the sexual atmosphere.uborrow.dev3.develag.com/top-cellphone-tracker-tool-iphone-x.php
DU Poetry Forums What separates a good erotic poem from a shitty porn poem? (page 2)
I have made many attempts, with a range of different translational approaches, and have had friends try as well, but none of the translations has been able to capture the interplay of rhythm, sound, meaning, and musicality of the original. Yiddish has a far freer syntax in terms of word order, which enables some delightful wordplay.
This can be difficult to reproduce in English translation. Translation from English into Yiddish can also present challenges. I was surprised to discover that I did not know how to say that in Yiddish.
What separates a good erotic poem from a shitty porn poem?
I looked in my dictionaries, but the only translations were for moaning as in complaining. With the right students, studying erotic writing can be a very positive experience. It is often relevant and relatable. It will certainly stimulate conversation. However, to my mind, teaching erotica needs to be a conscious choice based on the student cohort and class atmosphere. My Lubavitch students, for example, would be shocked to study erotica, finding it not tsniyesdik [modest, chaste].
Some undergrad students lack the maturity to deal with the subject matter respectfully.