Improving Your Sex Life

Revive Her Drive

Be ready to go through a complete transformation in the way that you think and feel about having sex with your wife or girlfriend! Revive Her Drive is like a Cheat Sheet to woo your woman the way she secretly wants you to, and simply cant express. The solution is based on female-friendly, easy-to-learn strategies that she will love! How nice will that moment be when shes lying in your arms, happy and spent, and she actually Thanks You for helping her to rediscover her sensual self? Shell be grateful that you, Her Man, now that you have the vision and skill to guide her into new, electrifying experiences even if she fights you or resists you now. Women Are sensual creatures. We women want pleasure, intimacy, connection, sensation as much as you do! Ill prove this to you. Once you know how to captivate her, you can turn her into a pleasure-seeking device within 24 hours. Getting that kind of responsiveness is the feedback you need to feel confident this program is working. Discover how Robert rekindled his relationship with Lauren using the tools within Revive Her Drive by watching this short presentation that lays out the whole strategy youll use to transform your intimate life into one of passion, surrender and fantasies-come-true. Read more here...

Revive Her Drive Summary

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4.8 stars out of 41 votes

Contents: Ebook
Author: Tim and Susan Bratton
Official Website: reviveherdrive.com
Price: $197.00

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My Revive Her Drive Review

Highly Recommended

The writer presents a well detailed summery of the major headings. As a professional in this field, I must say that the points shared in this ebook are precise.

This ebook does what it says, and you can read all the claims at his official website. I highly recommend getting this book.

Sex Hacker Bundle

Brooklyn based couple intimacy Coach Kenneth Play has designed an educational course purposed to increase men's sexual confidence and by providing techniques that create and maintain erotic bliss in lovemaking. The course is in the form of videos and is categorized into five modules. Just watch the videos to see how every skill builds off of foundational techniques, practice what you have seen with your lover or even on your own, and the master the skills you have learned from the course to become a sex hacker. The videos teach s foreplays, oral sex, penetration techniques, squirting and different types of squirting, and how to use your fingers and sex toys to pleasure your lover. The product was created by a team of professionals with years of experience in sex education, but the main man is Kenneth Play. He was once sexually insecure, but he transformed himself by first becoming physically fit. The other contributors are female, who brings different knowledge to the course. The course uses simple language that you can understand and follow the techniques taught, which are backed by science and research. Read more here...

Sex Hacker Bundle Summary

Contents: Video Course
Creator: Kenneth Play
Official Website: kennethplay.com
Price: $97.00

Ask Me No More Where Jove Bestows

In the second line the speaker lets the former lover know that just when she feels free From all solicitation from me, Then shall my ghost come to thy bed. He will visit her at night in the place he previously occupied. He assumes an accusatory tone, labeling her a feigned vestal, referencing the classical vestal virgins, sacred young women of Rome, with the adjective feigned, or pretended, reflecting negatively on her character and reputation for purity. He also places her in worse arms than his own, dooming her to find another man who does not measure up to his standard. With his visit already carefully planned, he describes how her candle, a sick taper, will flicker in his ghostly presence, and how he whose thou art then, her new lover, will push her away, being tired before. The speaker suggests his replacement will be weary from earlier lovemaking, so that when the lover attempts to wake him for comfort in her fright, her partner will think Thou call'st for more, And in false...

Harryman Carla 1952 A key

Through conceptualizing a bridge or middle, Harryman questions the philosophical distinctions between reason and instinct, human and animal, external and internal. Her texts may reveal a comic, ironic, or surreal edge. In Typical Domains (1995) she writes, Of course I think about sex a lot more than I should. One evening I put one foot in the clear water. A fish rose to the surface and said, 'Euphoria never lasts.' Poetry and prose interweave in a fantasy concerning sexual knowledge and its conventions. When the speaker tests the water, she is warned of the temporary nature of its pleasure by symbolic fish, which fittingly expires. The speakers subsequent falling is associated both with the swoon and with acquiring knowledge from the pool. The final line, A conservative make, contextualizes the act of making out with the human-made. While Harryman questions the naturalness of such sexual knowledge, she poses the possibility of an area beyond the social, which might be bridged by...

Pope And The Problem Of Pleasure For Sale

In her Vindication of the Rights of Woman (1792), Mary Wollstonecraft repeatedly quotes from Alexander Pope's Of the Characters of Women, agreeing with the poet that women's love of pleasure and sexual power determines the course of their lives forbidden by men to direct their energies toward an important social purpose, women of the middle and upper classes immerse themselves in gallantry, ornamentation, and other pursuits that extensive leisure makes possible. Wollstonecraft goes on to declare that people of rank and fortune resemble leisured women not only in being preoccupied with self-display and amusements, but also in being exempt from the need to exert themselves in productive, character-building employments. A third category of effeminate, useless citizens, however, includes male writers like Pope himself A king is always a king, and a woman always a woman. His authority and her sex ever stand between them and rational converse. . . . And a wit is always a wit, might be...

Some Final Conclusions

Chapter One attempted to establish Aphrodite's Eastern origins. Several aspects in myth, cult and iconography which she has in common with her predecessor Ishtar-Astarte have been used to show that it is the Aphrodite Oupavia type whom the Greeks seem to have most closely associated with the Eastern Queen of Heaven. The subsequent Chapters Two and Three gave a portrait of Aphrodite by focusing on her Greek idiosyncrasy this required a contrast to be drawn between myth, which features her adventurous sex-life, and cult, where she is concerned with more serious issues such as marriage and civic harmony. How far she is conceived as goddess of love and beauty in myth appears clearly in an episode of the Iliad (book 5) where she is dissociated from military and matrimonial concerns, and therefore also clearly differentiated from Athena and Hera. It was demonstrated that in the Homeric Hymn, the cult phenomenon of epiphany is taken as a means to promote her beauty and seductive skills when...

Boston Houghton Mifflin 1971

The queen's temptations, once she finds her stepdaughter, are all symbols of sexual growth a bodice, a comb, and an apple. Snow White, the narrator comments, is a dumb bunny for opening the door a third time. But within the context of the volume's themes, she is also a victim of parental force and manipulation (as are Hansel and Gretel in a later poem). The parent's role as guide to the mysteries of sexual awakening is caught up with the desire to destroy the child who is a reminder of aging and death - an aging and death to which marriage and childbearing make major contributions, outside of fairy tales. An additional feature of Snow White's behavior that the narrator's comment points up is the girl's failure to heed the advice of her dwarf protectors. In Transformations deformity is presented as both fascinating (hence its frequent appearance in the fairy tales) and disturbing. The deformed characters can be miraculously healed, as in The Maiden Without Hands - whose hands were cut...

Love A Child Is Ever Crying Lady

LOVE ARMED Aphra Behn (1676) Aphra Behn included several songs in her various dramas, with Love Armed first heard in a performance of her Abdelazer or, The Moor's Revenge, one of about 14 plays written and produced in the 1670s and early 1680s. While Behn had to cease writing plays when the London theaters that produced them suffered a series of financial challenges, she continued publishing her poetry and began a new career writing prose fictions. Among them was Oroonoko, The History of the Royal Slave (1688), a tale, like Abdelazer, with a black character at its center. Seemingly fearless in the face of criticism by her contemporaries for writing openly about sex and marginalized individuals, Behn constantly fought against her era's refusal to view all humans as worthy of dignity and personal freedom.

Shakespeares sonnets Sonnet 3 Look in thy glass and tell the face thou viewest William

Shakespeare (1599) Of the 154 sonnets written by William Shakespeare, the first 17 form what is known as the procreation sonnet set. These poems urge the reader to have sex both for enjoyment and for procreation. They also emphasize marriage as the fulfillment of social obligations and the underlying structure of society. Part of the encouragement to procreate is a desire for preservation (of family, humanity, and English society), and Sonnet 3 emphasizes this idea of continuation.

Mullen Harryette 1953 Harryette

Instead of using figurative techniques such as simile and metaphor, Mullen uses metonymy, anagrams, and puns (which are associative not symbolic) to invite the reader to collaborate in making the text's meaning. For example, the interpretive possibilities in just one line from her Stein-inspired work Trimmings (1991) are many Girl, pinked, beribboned. Alternate virgin at first blush . This section, about an African-American girl uncomfortably dressed, demonstrates the connections between clothing and gender (the pressure of being beribboned can manifest itself in eating disorders that might make her be rib boned ), clothing and race (being pinked not only implies that she is dressed in pink but also that the unwanted clothing is an attempt to make her pass for white), and clothing and sexuality (her first blush could be a blush of her cheeks but also her first menstruation or sexual experience).

Figure Of Speechin Concluding Stanza Of Forbidding Mourn

Donne begins a skillful use of figurative language (figure of speech) by comparing the separation of one lover from another to the separation between individuals caused by death. He could draw on a biblical tradition that associated love and sex with death from the old Testament book song of solomon, which describes the marriage of solomon and a country maiden, referred to as the Sulammite, with one section describing a temporary separation. The sulam-mite tells Solomon in 8 6 Put me like a seal over your heart, Like a seal on your arm. For love is as strong as death. Donne grounded much of his writing in religious tenets and the Bible's ideas, but he also drew on its abundant poetry as inspiration. The Bible offers much language that could be considered comparable to that of metaphysical poets and poetry, such as Solomon's lover's comparison of herself to a

T S Eliot and the wasteland of modernity

As these alternatives suggest, Prufrock himself feels etherized in more ways than one he may be carefully groomed, with his collar mounting firmly to the chin, but he is paralyzed with indecision and figuratively if not literally impotent. Prufrock's physical weakness is suggested by his thinning hair and spindly limbs, and he fears that when he is alone with a woman, he will not have the physical or emotional strength to force the moment to its crisis. He is overpowered by the eyes, arms, and perfume of the women who surround him, yet because of age, physical weakness, and a crippling fear of rejection, he cannot act on his desires. Even the fantasy of the mermaids riding the ocean waves at the end of the poem does not allow Prufrock any real contact with female sexuality I do not think they will sing to me, he laments. It is perhaps the figure of the blind seer Tiresias, whom Eliot identifies in the footnotes as the most important personage in the poem who unites all the rest - who...

Hie End of a Wild Party

Since wrong was being done to my bed so often, I wanted to change my partner (lit, with my bed having been changed) and move camp. There is a certain Phyllis, a neighbor of Aventine Diana, possessing few charms (lit., too little charming) when sober, but when she drinks, she adorns everything. There is another, Teia, from among the Tarpeian groves, fair, but one man will not be enough for her when drunk. I decided to pass the night pleasantly by inviting these (lit, by these having been invited) and to resume my stolen pleasures with a novel sexual experience. There was one couch for three in a secluded garden. You ask about the seating I was between the two

Shakespeares sonnets Sonnet 128 How oft when thou my music music playst William

The first quatrain begins by defining lust in its active mode Th'expense of spirit in a waste of shame Is lust in action . . . (ll. 1-2). Spirit here refers to vital energy, or sperm. The belief at this time was that each man had a limited amount of vital energy in his body. Each time he ejaculated, he released some of that energy and reduced his life by some span of time, usually a day. Therefore, each ejaculation, whether caused by sexual intercourse, masturbation, or a nocturnal emission, cost a man some of his life. So the belief was that a man could literally ejaculate himself to death if he engaged in too much sexual intercourse. The speaker of this sonnet feels shame because he has wasted some of his vital energy spirit in lust rather than in something worthwhile, like fathering a child with his wife. Lust was also believed to have a bad effect on men's personalities and bodies. Lust is perjured, murd'rous, bloody, full of blame, Savage, extreme, rude, cruel, not to trust (ll....

Care Not For These Ladies

The poet asserts that nature art disdaineth (l. 4), and this implies an opposition between the artifice traditionally associated with the court and the simplicity and naturalness of the country, which is continued throughout the poem. The second stanza figures the willingness of Amarillis to engage in sexual activity as a gift of fruit and flowers (l. 12). This is presented as a model of reciprocality in contrast with the one-sided-ness of relationships with courtly Ladies, where the lover has effectively bought love with gold (l. 15). The third stanza portrays the location of lovemaking as among mosse and leaves unbought (l. 24) in contrast to the beds by strangers wrought, where courtly assignations take place. This recalls the expense that the poet complained of in the second stanza, but it also suggests the unnecessary complexity of formal courtship alluded to by its association with art. The opposition between the artifice of the court and the naturalness of the country thus...

The appearance of Ireland

Callanan received scant attention in his time and just a fraction more afterwards Moore, during his life, received the adulation of Europe, but is remembered for only a small part of his work however, James Clarence Mangan has perhaps received more critical attention than any other nineteenth-century Irish poet with the exception of Yeats. For his patriotic poems he has received the same hagiographic treatment as Moore 35 for the incoherence of his work, he has been characterised offering resistance to both nationalist and imperialist literary forces 36 for his generally louche lifestyle and grotesqueries, he has been figured as a poete maudit 37 for one young poet he becomes a kind of Virgil figure who reveals a hidden Dublin 38 a penny dreadful entitled The Mangan Inheritance has one of his descendants indulging in sex with a girl-child and another in incest 39 one theory suggests that he is the model for the eponymous hero of Herman Melville's 'Bartleby the Scrivener'.40 He wrote a...

Willing Mistress The Aphra Behn

It is sung by a maidservant, who tells her mistress of a sexual experience with a man named Amyn-tas. Amyntas was a favorite name adopted by Behn for the sexual predators in her poetry. Some critics believe it was a nickname for the man with whom Behn became obsessed, John Hoyle. Because Hoyle apparently did not reciprocate her attentions, he could assume the persona in her works of the man rejecting a woman desperate for love. Known for her erotic drama and poetry, Behn scandalized a society that easily accepted themes of sexual excess from Restoration period male writers. She seemed to encourage her audience to identify her with the female subjects of her writings, until the private person became indistinguishable from the public character. No doubt this helped sales of her works, all-important to this widow who had to support herself just as any man did. A former spy for Charles II who had experienced firsthand the conflation of power and sex, Behn understandably wrote as her...

Upon The Losse Of His Mistresses

Robert Herrick (1648) As did most of his other best recognized poems, the sonnet titled Upon the Losse of His Mistresses appeared in Robert Herrick's large collection Hesperides. Herrick framed this verse in the same playful tone common in his secular poetry. While the mistresses proved pure fantasy, Herrick seems to enjoy listing these Many dainty Mistresses by name. Those names include Stately Julia, labeled prime of all, and Sapho, termed a principall, or a more important lover. He admires in lines 5-11 Smooth Anthea, for a skin White, while Sweet Electra is compared to Heaven-like Chrystalline. With an admirable voice resembling the Lute, Myrha is praised, and Next, Corinna, not only for her wit, but for the graceful use of it. Finally he mentions Perilla, and with her All are gone Only Herrick's left alone. In his loneliness he will number sorrow by Their departures hence, and die. Typical of the sonnet format, the final two lines comment on the situation stated in the first 12,...

Sky And Earth As A Pair

This picture reappears in the tragedians. In a famous fragment from Aeschylus' Danaids (44) Aphrodite describes how, under her influence, Ouranos and Chthon Gaia are seized by mutual desire for sexual intercourse the rain falls, Earth conceives, and brings forth pasture, cereal crops, and foliage. The passage is echoed more than once by Euripides (frs. 839, 898, 941). But in fr. 839 he replaces Ouranos by AOs Aldrp, Zeus' Air, whom he then calls 'progenitor of men and gods', giving Zeus' title back to the Sky-god and in fr. 941 the speaker instructs that the boundless aldrp that holds earth in its moist embrace is actually identical with Zeus.

Women poets of the Harlem Renaissance

In addition to the poem of racial protest, the genre at which the women poets of the Harlem Renaissance excelled was the love poem. Many of these poems were addressed to other women, as in the case of Grimkee's haunting A Mona Lisa. Grimke, a lesbian, could offer only a more muted version of her sexual feelings in her published poetry, although she made her attraction to other women more overt in her unpublished verse. In A Mona Lisa, published in Caroling Dusk, she seeks a romantic union with another woman ( I should like to creep Through the long brown grasses That are your lashes ), but her unrequited love leads her to a vision of her own death. The metaphor of her lover's eyes as a pool of water becomes literalized in the second stanza after she finds herself sinking to the bottom to deeply drown, she wonders in a series of questions if she will be remembered as anything more than a bubble breaking or a wave ceasing at the marge. Once again we find color imagery associating...

The Doctrine of the Image the Metropolis and Gender

In these terms it made sense for Pound to praise H. D.'s classicism as the defining aspect of its modernism 'It's straight talk, straight as the Greek ' he exclaimed to Harriet Monroe (Paige, 1971, p. 11). Pound's Hellenism was not necessarily H. D.'s however. Talk of 'straight talk', of the sculptural 'hardness' and 'crystalline' clarity of the Image confirmed the masculinist discourse of Pound's modernism. As Rachel Blau du Plessis (1986) has argued, H. D.'s Imagism had its roots in Sappho. Her poetry therefore reclaimed a female precursor whose work significantly survived only in fragments and whose erotic writing and associations with the island of Lesbos make her a force in undermining the cultural silence concerning female sexuality and lesbianism. For critics such as du Plessis concerned at a later moment in literary and cultural history to reclaim H. D. herself she is the premier Imagist and belongs at the centre of modernist poetry.

Imperfect Enjoyment The John

His poems included graphic descriptions of the sex act and often demeaned those involved. While in The Imperfect Enjoyment the speaker at one point compares the whores to pigs, he also elevates his present partner to a position of power. The couple described by the speaker begins on even terms, both naked, he filled with love, and she all over charms Both equally inspired with eager fire. As their love- making progresses, the narrator proves at first an equal partner. His mind sends a message to The all-dissolving thunderbolt below, and his fluttering soul . . . Hangs hovering o'er her balmy brinks of bliss as they rapidly complete the sex act, Wilmot imitating the momentum through his use of quick-moving alliteration. However, when the woman responds with a thousand kisses, she also asks, 'Is there then no more ' His initial ejaculation has been 'to love and rapture's due,' but she wonders, ' Must we not pay a debt to pleasure too ' The narrator then describes his inability to comply...

On Her Loving Two Equally

The uneven rhythm caused by awkward wording draws attention to the awkward nature of the situation. Behn suggests by the need for opposite lovers the theory that one cannot experience love without experiencing hate or the more concrete rule that heat cannot be understood without cold. She thus implies that a woman's taking multiple lovers is a natural impulse, governed by natural causes. The argument that man's natural character created a greater need for sexual satisfaction than that of woman provides the basis for her parody.

Rostopchina as Poetessa

Critics also described Rostopchina's work as lacking. Several attributed Rostopchina's success to the popularity of her poetry with women, by implication an undereducated and undiscriminating audience. Others criticized her work as too personal, specific, and lacking in universality. One wonders if perhaps women readers found Rostopchina's poetry more universal than did men because it described their experience. How universal, one might ask, is Pushkin's poem Net, ia ne dorozhu miatezhnym naslazhden'em (No, I do not value stormy pleasure, 1831), in which a man speaker describes his enjoyment in having sex with a reluctant woman Or Baratynsky's Bal, in which women are depicted as angels or devils 47

Garden City NY Doubleday Co 1948

The first of the title poem's five sections opens at a cemetery, with At Woodlawn I heard the dead cry, which begins the theme of alienation from his father, and from the Christian Father, which runs through these four poems as well as the later, longer sequence. The language in this and the following poems moves in and out of rational order, the images going through sudden shifts, as Roethke tries to get close to the fear and desperation of the experience, suggesting subconscious as well as conscious expression. Each poem, Roethke wrote, is in a sense a stage in a kind of struggle out of the slime part of a slow spiritual progress an effort to be born, and later, to become something more. The poems also follow a loose trajectory of moving back into this primordial slime, as a kind of retreat, before moving forward. In this first section of The Lost Son the narrator runs from the cry, and in an empty house, with childlike puzzlement - in the kingdom of bang and blab - tries to...

E246

She spoke in scorn & jealousy, alternate torments and So speaking she sat down on Sussex shore singing lulling Cadences, & playing in sweet intoxication among the glistening Fibres of Los sending them over the Ocean eastward into The realms of dark death O perverse to thyself, contrarious To thy own purposes for when she began to weave Shooting out in sweet pleasure her bosom in milky Love Flowd into the aching fibres of Los. yet contending against him In pride sending his Fibres over to her objects of jealousy t329 In the little lovely Allegoric Night of Albions Daughters Which stretchd abroad, expanding east & west & north & south Thro' all the World of Erin & of Los & all their Children

Operation Memory

We'd been drinking since early afternoon. I was loaded. The doctor made me recite my name, rank, and serial number when I woke up, sweating, in my civvies. All my friends had jobs As professional liars, and most had partners who were good in bed. What did I have Just this feeling of always being in the middle Of things, and the luck of looking younger than fifty.

Situation And Action

In this initial passage from The Waste Land, I have numbered those lines (8, 12, 13, 19) which mark a transition between one 'voice' and another. I leave it to the reader, however, to determine exactly how, from the evidence of the language, we rccognize these changes, when they come. It is 110 wonder that Lawrence Durrell, in The Key to Modem Poetry,8 finds it possible to set this part of The Waste Land as a radio play the transitions indicated above are in fact those of his version. To some extent, breaking up the lines in this way makes the picture appear more clear-cut than it is the change-over marked at line 8, for instance, is gradual rather than sudden. In the radio version, moreover, Durrell adds information about sex of speaker, background noises, etc., which cannot be definitely gathered from the poem as it stands. Every intelligent reader imaginatively 'furnishes' in this way the 'world within the poem' the inferred situation, being inexplicit, tempts us to read in details...

The Rabbit Catcher

'The Rabbit Catcher' was included in Plath's own 'Ariel' collection but not in the published Ariel. It was presumably excluded as one of the 'more openly vicious' poems, as Hughes puts it (Hughes, 1994, p. 166). The poem's 'viciousness' resides in its comparison between traps set for rabbits and the 'constriction' of a sexual relationship. The shape of the 'snares' - zeros, which shut on nothing - mimics the 'hole in the hot day', which is the speaker's refusal to hear the shrieks of death the same shape appears as the 'tea mug' around which dull, blunt murderous fingers circle - fingers which might equally circle the speaker's throat (Perloff, 1990, p. 186) or wear the kind of ring that both signifies marriage and 'Slid es shut on some quick thing, The constriction killing me also'. This link between traps and marriage is reinforced by the description of the victims - who are not identified in the poem itself as rabbits

Trochaic See METER

Her mature nature as both a metaphorical and a literal Rose. She begins, No, no for my virginity, When I lose that, says Rose, I'll die. She seems to be answering a question, as she repeats, No, and readers assume someone has propositioned her or has asked whether she remains a virgin. Prior adopts a pun with the term die, also used traditionally in reference to sexual climax.

Poets And Poetry

The speaker beseeches, oh, stay, three lives in one flea spare, When we almost, nay more than married are. When he bids her stay, or stop, he tries to convince her that the flea must be spared because it represents their union or marriage. Donne adopts marriage as a conceit, represented in an unusual manner through the actions of a mere flea. Because marriage was a holy sacrament, Donne flouts the need for religious approval before sex between willing partners may occur. He adopts elevated terminology, such as the biblical reference to the human body as a temple, to advance his ironic and playful tone, equating the marriage bed with a marriage temple. The man tells the woman that, while she and her parents may grudge the fact, the young lovers have become a married pair, via the flea. then constitute a greater sacrilege than their having sex

HD Hilda Doolittle

In these years of dramatic change in her personal life H.D. published her first books of poems, Sea Garden (1916), Hymen (1921), and Heliodora and Other Poems (1924). The poetry of these books conforms broadly to imagist principles, and often uses figures from classical myth to give a voice to the commands, evocations, or descriptions within the poem. There is typically more dynamic movement and emotional intensity in the poems than in Pound's imagist work. As some critics have noticed, the undercurrent of powerful emotion seems barely contained by the ostensible subject or speaker in a number of the poems written after 1916-17. The subject might appear more straightforward in the earlier work. In Oread, for example, the mythological mountain nymph of the title who is the speaker of the short poem calls for the sea's pointed pines - imagined as a parallel to the forested mountain - to cover us. But while the concrete detail and pictorial transference within the poem justify its place...

Elizabeth Bishop

At this apparently climactic moment, the poem takes a turn that is in some ways the opposite of the typical confessional movement toward self-revelation. Rather than enacting a more direct contact with the reader by offering an intensified vision of the self (for example, if the poem had more explicitly focused on the young Bishop's discovery of sexuality or gender identity), Bishop confuses the very definition of self by refusing to offer up any single version of the personal and poetic self for analysis. Not only is the aunt's cry of pain conflated with that of the girl (identified later in the poem as Elizabeth ), but both of them are implicated in the larger social and historical reality represented by the National Geographic of February 1918. As Elizabeth Dodd has noted, the focus of the poem is not only on the personal awareness suggested by Elizabeth's cry of painful self-recognition, but also on the larger awareness of humanity in general the young Elizabeth is not really...

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