A música percorre a obra de Mário de Andrade como matriz de seu fazer poético. Harmonizando as diferentes faces do poeta arlequinal, sua face musical aparece em Paulicéia desvairada (1922) e em Losango cáqui (1926), assim como nos versos de Clã do jabuti (1927), permanecendo, ainda, em Remate de males (1930) e nos volumes de poesia posteriores. O estudo detido de três grupos de poemas do livro de 1930 Tempo da Maria (1926), Poemas da negra (1929) e Poemas da amiga (1920-1930), realizado nesta tese, permite perceber em que medida a música e a retomada de formas populares, como a estrutura das Danças Dramáticas, moldam os poemas de Mário de Andrade, em que dilemas amorosos do eu lírico são encenados. / The music is the matrix of the poetic work of Mário de Andrade. Harmonizing the different faces of the multiple poet, his musical face can be seen in the books Paulicéia desvairada (1922), Losango cáqui (1926) and Clã do jabuti (1927), as well as in the verses of Remate de males (1930), and in the posterior works of the author. A detailed study of poems that are organized in tree groups of Remate de males Tempo da Maria (1926), Poemas da negra (1929) e Poemas da amiga (1920-1930) , accomplished by this thesis, allows us to notice how the music and the popular forms, as the structure of the Danças Dramáticas, mould the poems of Mário de Andrade, in which appears amorous dilemmas.

This study focuses on the praeceptor amoris, or teacher of love, as that persona appears in English poetry between 1500 and 1660. Some attention is given to the background, especially Ovid and his Art of Love. A study of the medieval praeceptor indicates that ideas of love took three main courses: a bawdy strain most evident in Goliardic verse and later in the libertine poetry of Donne and the Cavaliers; a short-lived strain of mutual affection important in England principally with Spenser; and the love known as courtly love, which is traced to England through Dante and Petrarch and which is the subject of most English love poetry. In England, the praeceptor is examined according to three functions he performs: defining love, propounding a philosophy about it, and giving advice. Through examining the praeceptor, poets are seen to define love according to the division between body and soul, with the tendency to return to older definitions in force since the troubadours. The poets as a group never agree what love is. Philosophies given by the praeceptor follow the same division and are physically or spiritually oriented. The rise and fall of Platonism in English poetry is examined through the praeceptor amoris who teaches it, as is the rise of libertinism. Shakespeare and Donne are seen to have attempted a reconciliation of the physical and spiritual. Advice, the major function of the praeceptor, is widely variegated. It includes moral suasion, advice on how to court, how to start an affair, how to maintain one, how to end one, and how to cure oneself of love. Advice also includes warnings. The study concludes that English poets stayed with older ideas of love but added new dimensions to the praeceptor amoris, such as adding definition and philosophical discussion to what Ovid had done. They also added to the use of persona as speaker, particularly with Donne's dramatic monologues.

While It's Still Morning is a collection of lyric poems exploring themes of love, gratitude, and praise. The critical essay introducing the collection discusses possible pitfalls of this genre of poetry and how I've sought to avoid them. It also details qualities often present in my favorite poems (surprise, particularity, strangeness, tension, attention, allusion) and ways in which I've striven to create these qualities in my own poetry.

Hard Luck Baby is a collection that elucidates the life of a southern, black mother as she grapples with her culture, family, love and the complex reality of black life in America. Hannah, is a woman who was born in the bubbling 40s, raised in the racial 60s and raptured in the drug-infested 80s. It is through these decades that the rough edges of America are exposed. She discusses her life experiences in a manner that allows readers to touch, as much as empathy will allow, the feelings that contour the deepest areas of her barrel. She shares her first example of love and its reverberations along with various accounts of growth. With minimal mention that demands acknowledgment, Hannah achieves an accurate description of American culture, as it relates to poor black people. She juxtaposes multiple societal and familial norms that contributed to her personal development. She is participating in a self-assigned purge of gripping hard-truths, but the crowning moment starts to take shape as she begins to understand herself and her children. Hard Luck Baby is the music of pained grandparents, parents, siblings, and children played over an American landscape. It is a platform for a woman who has been silenced to speak. Written in first person, many of the poems are stories that might have been told from other perspectives with venom, malice or sorrow, but the speaker takes ownership of her role in creating such emotions. As Hannah speaks, the audience may as well, be sitting crossed-legged on a front porch as she rocks in her chair recalling events from her life. She speaks about love, loss, rejection, disappointment, growth, friendship, fight, and forgiveness. At its close, Hard Luck Baby is an elderly woman giving stern-faced lessons to anyone who would dare to sit and listen.

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This study addresses lesser known works of romantic poets John Clare and John Keats--Clare's Child Harold and Keats's poems to Fanny Brawne--which I refer to as their love poems because the works are informed by intense feelings the poets had for women they loved. Although these works have been the brunt of negative criticism because Clare was considered insane at the time of the composition of Child Harold and Keats was accused of using the poems to give vent to his personal sufferings, nonetheless I argue that the love poems are significant for several reasons. They are a reflection of the poets' personal experiences and also demonstrate their remarkable and surprisingly similar creative abilities in the way they use poetry as a means of devising new strategies for dealing with the painful realities of their disturbing lives. And because I feel it is important to understand Clare's and Keats's feelings for the women they love in order to understand their poetry (since the poetry is, after all, based on real life experiences), I provide chapters describing the poets's lives and loves, as well as their poetic processes, to serve as a framework for examining the poems. In the remaining chapters, I show how the poets incorporate highly sophisticated metaphor in attempting to reconcile the apparent conflicts the speakers in their poems are experiencing between their subjective responses to, and their rational assessment of human existence. In the process, the speakers experience various states of emotional upheaval ranging from what I refer to as periods of limbo, purgatory, and paradise, and they create personal thresholds and undergo differing states of self-awareness. In the final chapter I provide a summary of how these different emotional states are metaphorically effected, and then attempt to explain the value of Clare's and Keats's poetic achievements in the poems from a current perspective.

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Ng Pui Lam. / Thesis submitted in: November 2005. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references (leaves 94-96). / Abstracts in English and Chinese. / Chapter Chapter 1 --- Introduction --- p.1 / Chapter Chapter 2 --- The Secular-Divine Seduction in Donne's Seductive Poems --- p.16 / Chapter Chapter 3 --- The Sexual Elements in Donne's Religious Poems --- p.34 / Chapter Chapter 4 --- "Death: “The Worst Enemy""" --- p.61 / Conclusion --- p.91 / Bibliography --- p.94