Classic Love Poems Definition

Classic Love Poems Definition

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W.S. Merwin is a major American writer whose poetry, translations, and prose have won praise since W.H. Auden awarded his first book, A Mask for Janus (1952), the Yale Younger Poets Prize. Though that first book reflected the formalism of the period, Merwin eventually became known for an impersonal, open style that eschewed punctuation. Writing in the Guardian, Jay Parini described Merwin’s mature style as “his own kind of free verse, [where] he layered image upon bright image, allowing the lines to hang in space, largely without punctuation, without rhymes . . . with a kind of graceful urgency.” Although Merwin’s writing has undergone stylistic changes through the course of his career, a recurring theme is man’s separation from nature. The poet sees the consequences of that alienation as disastrous, both for the human race and for the rest of the world. Merwin, who is a practicing Buddhist as well as a proponent of deep ecology, has lived since the late 1970s on an old pineapple plantation in Hawaii which he has painstakingly restored to its original rainforest state.

Merwin was born in New York City in 1927 and raised in New Jersey and Scranton, Pennsylvania, the son of a Presbyterian minister. Of his development as a writer, Merwin once said, “I started writing hymns for my father almost as soon as I could write at all, illustrating them . . . But the first real writers that held me were not poets: Conrad first, and then Tolstoy, and it was not until I had received a scholarship and gone away to the university that I began to read poetry steadily and try incessantly, and with abiding desperation, to write it.”  Merwin attended Princeton University and studied with R.P. Blackmur and John Berryman. After graduating in 1948, he continued as a post-graduate student of Romance languages and eventually traveled through much of Europe, translating poetry and working as a tutor, including for the son of poet Robert Graves. Merwin’s early collections—especially A Mask for Janus—reflect the influence of Graves and the medieval poetry Merwin was translating at the time.

Indeed, the poetic forms of many eras and societies are the foundation for a great deal of Merwin’s poetry. His first books contain many pieces inspired by classical models. According to Vernon Young in the American Poetry Review, the poems are traceable to “Biblical tales, Classical myth, love songs from the Age of Chivalry, Renaissance retellings; they comprise carols, roundels, odes, ballads, sestinas, and they contrive golden equivalents of emblematic models: the masque, the Zodiac, the Dance of Death.” In 1956, Merwin was offered a fellowship from the Poets’ Theater in Cambridge, Massachusetts and returned to the U.S. His books from this period, Green with Beasts (1956) and The Drunk in the Furnace (1960), show the beginning of a shift in style and tone as Merwin began to experiment with irregular forms. The Drunk in the Furnace, which was written during Merwin’s tenure in Boston when he was meeting poets like Robert Lowell, particularly shows his new engagement with American themes. His obsession with the meaning of America and its values can make Merwin sometimes seem like the great nineteenth-century poet Walt Whitman, L. Edwin Folsom noted in Shenandoah. “His poetry . . . often implicitly and sometimes explicitly responds to Whitman; his twentieth-century sparsity and soberness—his doubts about the value of America—answer, temper, Whitman’s nineteenth-century expansiveness and exuberance—his enthusiasm over the American creation.”

Merwin’s next books are his most critically acclaimed and continue to be influential volumes. The Lice (1967), though often read as a response to the Vietnam War, condemns modern man in apocalyptic and visionary terms. “These are poems not written to an agenda but that create an agenda,” wrote poet and critic Reginald Shepherd, “preserving and recreating the world in passionate words. Merwin has always been concerned with the relationship between morality and aesthetics, weighing both terms equally. His poems speak back to the fallen world not as tracts but as artistic events.” The Lice remains one of Merwin’s best-known volumes of poetry. His next book, The Carrier of Ladders (1970) won the Pulitzer Prize for poetry in 1971. He famously donated the prize money to the draft resistance movement, writing an essay for the New York Review of Books that outlined his objections to the Vietnam War. His article spiked the ire of W.H. Auden, who wrote a response arguing that the award was apolitical. The Carrier of Ladders shows Merwin continuing to engage with American themes and nature, and includes a long sequence on American westward expansion. That same year, Merwin published The Miner’s Pale Children: A Book of Prose. Reviewing both volumes for the New York Times, Helen Vendler noted that “these books invoke by their subtitles the false distinction between prose and poetry: the real distinction is between prose and verse, since both are books of poems, with distinct resemblances and a few differences.”

Merwin moved to Hawaii to study Zen Buddhism in 1976. He eventually settled in Maui and began to restore the forest surrounding his former plantation. Both the rigor of practicing Buddhism and the tropical landscape have greatly influenced Merwin’s later style. His next books increasingly show his preoccupation with the natural world. The Compass Flower (1977), Opening the Hand (1983), and The Rain in the Trees (1988) “are concerned not only with what to renounce in the metropolis but also what to preserve in the country,” noted Ed Hirsch in the New York Times. Many of the poems in the last volume “immerse themselves in nature with a fresh sense of numinousness,” said Hirsch, while also mourning the loss of that nature to human greed and destruction. Merwin has continued to produce striking poems using nature as a backdrop. The Vixen (1996), for instance, is an exploration of the rural forest in southwestern France that Merwin called home for many years. New Yorker critic J. D. McClatchy remarked that “the book is suffused with details of country life—solitary walks and garden work, woodsmoke, birdsong, lightfall.” But Merwin’s later poetry doesn’t merely describe the natural world; it also records and condemns the destruction of nature, from the felling of sacred forests to the extinction of whole species. Migration: New and Selected Poems (2005) exposes Merwin’s evolution as a stylist over half a century but also shows, as Ben Lerner noted in his review of the volume for Jacket, that “Merwin . . . is an unwaveringly political poet . . .  [he] not only tracks the literal impoverishment of our planet, but he makes it symbolize the impoverishment of our culture’s capacity for symbolization.” Migration was awarded the National Book Award for poetry.

Some literary critics have identified Merwin with the group known as the oracular poets, but Merwin himself once commented: “I have not evolved an abstract aesthetic theory and am not aware of belonging to any particular group of writers.” Reviewing Migration for the New York Times, Dan Chiasson described Merwin poems as “secular prophecy grounded on perceptual fineness.” But while Merwin’s work from the 1960s and early ‘70s perhaps best embody this mode, Chiasson believed that “its signature open form has been preserved whatever the occasion. What began as stylistic necessity has become a mannerism.” Merwin has continued to win high praise for his poetry, however, including the 2009 Pulitzer Prize for his collection The Shadow of Sirius (2008). The book’s three sections deal with childhood and memory, death and wisdom, and are some of the most autobiographical of his career. The Pulitzer Prize committee cited the book for its “luminous, often-tender poems that focus on the profound power of memory.”

Classic Love Poems

Classic Love Poems

Classic Love Poems

Classic Love Poems

Classic Love Poems

Classic Love Poems

Classic Love Poems

Classic Love Poems

Classic Love Poems

Classic Love Poems

Classic Love Poems

Baseball Quotes Funny Definition

Baseball Quotes Funny Definition

Source(google.com.pk)      
Baseball is ninety percent mental and the other half is physical.
Yogi Berra Little League baseball is a very good thing because it keeps the parents off the streets.
Yogi Berra
People ask me what I do in winter when there's no baseball. I'll tell you what I do. I stare out the window and wait for spring.
Rogers Hornsby
Poets are like baseball pitchers. Both have their moments. The intervals are the tough things.
Robert Frost
Baseball has the great advantage over cricket of being sooner ended.
George Bernard Shaw
Every day is a new opportunity. You can build on yesterday's success or put its failures behind and start over again. That's the way life is, with a new game every day, and that's the way baseball is.
Bob Feller
Some say our national pastime is baseball. Not me. It's gossip.
Erma Bombeck
Baseball is 90 percent mental and the other half is physical.
Yogi Berra
In baseball, you don't know nothing.
Yogi Berra
It's fun; baseball's fun.
Yogi Berra
Baseball is the only field of endeavor where a man can succeed three times out of ten and be considered a good performer.
Ted Williams
I see great things in baseball. It's our game - the American game.
Walt Whitman Opera in English is, in the main, just about as sensible as baseball in Italian.
H. L. Mencken
Baseball was, is and always will be to me the best game in the world.
Babe Ruth
Baseball players are smarter than football players. How often do you see a baseball team penalized for too many men on the field?
Jim Bouton
Baseball is like a poker game. Nobody wants to quit when he's losing; nobody wants you to quit when you're ahead.
Jackie Robinson
A baseball game is simply a nervous breakdown divided into nine innings.
Earl Wilson
Baseball is like church. Many attend few understand.
Leo Durocher
No baseball pitcher would be worth a darn without a catcher who could handle the hot fastball.
Casey Stengel
I think about baseball when I wake up in the morning. I think about it all day and I dream about it at night. The only time I don't think about it is when I'm playing it.
Carl Yastrzemski
The Statue of Liberty is no longer saying, 'Give me your poor, your tired, your huddled masses.' She's got a baseball bat and yelling, 'You want a piece of me?'
Robin Williams
When baseball is no longer fun, it's no longer a game.
Joe DiMaggio 

Baseball Quotes Funny

Baseball Quotes Funny

Baseball Quotes Funny

Baseball Quotes Funny

Baseball Quotes Funny

Baseball Quotes Funny

Baseball Quotes Funny

Baseball Quotes Funny

Classic Love Poems Definition

Classic Love Poems Definition

Source(google.com.pk)
W.S. Merwin is a major American writer whose poetry, translations, and prose have won praise since W.H. Auden awarded his first book, A Mask for Janus (1952), the Yale Younger Poets Prize. Though that first book reflected the formalism of the period, Merwin eventually became known for an impersonal, open style that eschewed punctuation. Writing in the Guardian, Jay Parini described Merwin’s mature style as “his own kind of free verse, [where] he layered image upon bright image, allowing the lines to hang in space, largely without punctuation, without rhymes . . . with a kind of graceful urgency.” Although Merwin’s writing has undergone stylistic changes through the course of his career, a recurring theme is man’s separation from nature. The poet sees the consequences of that alienation as disastrous, both for the human race and for the rest of the world. Merwin, who is a practicing Buddhist as well as a proponent of deep ecology, has lived since the late 1970s on an old pineapple plantation in Hawaii which he has painstakingly restored to its original rainforest state.

Merwin was born in New York City in 1927 and raised in New Jersey and Scranton, Pennsylvania, the son of a Presbyterian minister. Of his development as a writer, Merwin once said, “I started writing hymns for my father almost as soon as I could write at all, illustrating them . . . But the first real writers that held me were not poets: Conrad first, and then Tolstoy, and it was not until I had received a scholarship and gone away to the university that I began to read poetry steadily and try incessantly, and with abiding desperation, to write it.”  Merwin attended Princeton University and studied with R.P. Blackmur and John Berryman. After graduating in 1948, he continued as a post-graduate student of Romance languages and eventually traveled through much of Europe, translating poetry and working as a tutor, including for the son of poet Robert Graves. Merwin’s early collections—especially A Mask for Janus—reflect the influence of Graves and the medieval poetry Merwin was translating at the time.

Indeed, the poetic forms of many eras and societies are the foundation for a great deal of Merwin’s poetry. His first books contain many pieces inspired by classical models. According to Vernon Young in the American Poetry Review, the poems are traceable to “Biblical tales, Classical myth, love songs from the Age of Chivalry, Renaissance retellings; they comprise carols, roundels, odes, ballads, sestinas, and they contrive golden equivalents of emblematic models: the masque, the Zodiac, the Dance of Death.” In 1956, Merwin was offered a fellowship from the Poets’ Theater in Cambridge, Massachusetts and returned to the U.S. His books from this period, Green with Beasts (1956) and The Drunk in the Furnace (1960), show the beginning of a shift in style and tone as Merwin began to experiment with irregular forms. The Drunk in the Furnace, which was written during Merwin’s tenure in Boston when he was meeting poets like Robert Lowell, particularly shows his new engagement with American themes. His obsession with the meaning of America and its values can make Merwin sometimes seem like the great nineteenth-century poet Walt Whitman, L. Edwin Folsom noted in Shenandoah. “His poetry . . . often implicitly and sometimes explicitly responds to Whitman; his twentieth-century sparsity and soberness—his doubts about the value of America—answer, temper, Whitman’s nineteenth-century expansiveness and exuberance—his enthusiasm over the American creation.”

Merwin’s next books are his most critically acclaimed and continue to be influential volumes. The Lice (1967), though often read as a response to the Vietnam War, condemns modern man in apocalyptic and visionary terms. “These are poems not written to an agenda but that create an agenda,” wrote poet and critic Reginald Shepherd, “preserving and recreating the world in passionate words. Merwin has always been concerned with the relationship between morality and aesthetics, weighing both terms equally. His poems speak back to the fallen world not as tracts but as artistic events.” The Lice remains one of Merwin’s best-known volumes of poetry. His next book, The Carrier of Ladders (1970) won the Pulitzer Prize for poetry in 1971. He famously donated the prize money to the draft resistance movement, writing an essay for the New York Review of Books that outlined his objections to the Vietnam War. His article spiked the ire of W.H. Auden, who wrote a response arguing that the award was apolitical. The Carrier of Ladders shows Merwin continuing to engage with American themes and nature, and includes a long sequence on American westward expansion. That same year, Merwin published The Miner’s Pale Children: A Book of Prose. Reviewing both volumes for the New York Times, Helen Vendler noted that “these books invoke by their subtitles the false distinction between prose and poetry: the real distinction is between prose and verse, since both are books of poems, with distinct resemblances and a few differences.”

Merwin moved to Hawaii to study Zen Buddhism in 1976. He eventually settled in Maui and began to restore the forest surrounding his former plantation. Both the rigor of practicing Buddhism and the tropical landscape have greatly influenced Merwin’s later style. His next books increasingly show his preoccupation with the natural world. The Compass Flower (1977), Opening the Hand (1983), and The Rain in the Trees (1988) “are concerned not only with what to renounce in the metropolis but also what to preserve in the country,” noted Ed Hirsch in the New York Times. Many of the poems in the last volume “immerse themselves in nature with a fresh sense of numinousness,” said Hirsch, while also mourning the loss of that nature to human greed and destruction. Merwin has continued to produce striking poems using nature as a backdrop. The Vixen (1996), for instance, is an exploration of the rural forest in southwestern France that Merwin called home for many years. New Yorker critic J. D. McClatchy remarked that “the book is suffused with details of country life—solitary walks and garden work, woodsmoke, birdsong, lightfall.” But Merwin’s later poetry doesn’t merely describe the natural world; it also records and condemns the destruction of nature, from the felling of sacred forests to the extinction of whole species. Migration: New and Selected Poems (2005) exposes Merwin’s evolution as a stylist over half a century but also shows, as Ben Lerner noted in his review of the volume for Jacket, that “Merwin . . . is an unwaveringly political poet . . .  [he] not only tracks the literal impoverishment of our planet, but he makes it symbolize the impoverishment of our culture’s capacity for symbolization.” Migration was awarded the National Book Award for poetry.

Some literary critics have identified Merwin with the group known as the oracular poets, but Merwin himself once commented: “I have not evolved an abstract aesthetic theory and am not aware of belonging to any particular group of writers.” Reviewing Migration for the New York Times, Dan Chiasson described Merwin poems as “secular prophecy grounded on perceptual fineness.” But while Merwin’s work from the 1960s and early ‘70s perhaps best embody this mode, Chiasson believed that “its signature open form has been preserved whatever the occasion. What began as stylistic necessity has become a mannerism.” Merwin has continued to win high praise for his poetry, however, including the 2009 Pulitzer Prize for his collection The Shadow of Sirius (2008). The book’s three sections deal with childhood and memory, death and wisdom, and are some of the most autobiographical of his career. The Pulitzer Prize committee cited the book for its “luminous, often-tender poems that focus on the profound power of memory.”

Classic Love Poems

Classic Love Poems

Classic Love Poems

Classic Love Poems

Classic Love Poems

Classic Love Poems

Classic Love Poems

Classic Love Poems

Classic Love Poems

Classic Love Poems

Classic Love Poems

Relationship Quotes Funny Definition

Relationship Quotes Funny Definition

Source(Google.com.pk)
Our two lives perfect they are not, but perfect we are together one love that will never stop.
You may not be perfect but you are perfect for me, and I'm grateful to call you mine!
I was your first everything and I hope to remain your last everything.
I accept him, I love him, just as he is. He accepts me, loves me, just as I am. We choose each other. everyday. It isn't puppies and rainbows and cotton candy under a starry sky. But it's the biggest love that I've ever known.
When I saw you, I was afraid to meet you. When I met you, I was afraid to kiss you. When I kissed you, I was afraid to love you. Now that I love you, I'm afraid to lose you.
The best moments of my life are the moments, that I spent along with you..
His heart? I own that...His back? I got that...His weed? I roll that...My baby? He knows that...My hands? He holds that...His role? He plays that...They Jealous? We know that...We're Happy? They hate that.
The best boyfriend isn't the best-looking, the funniest, or the richest. It's the one that makes sure you know he loves you.
It's sweet when someone remembers every little detail about you, not because you keep reminding them... But because they pay attention.

You make me smile,you make me laugh, you are the one who cheers me up. When I am down you pick me up and when I frown you turn it upside down :)

You're someone who can always show me the brighter side, and I can always tell you what I feel inside.

RELATIONSHIP; It's more than just the dates, holding hands and kissing. It's about accepting each other's weirdness and flaws. It's about being yourself and finding happiness together. It's about seeing an imperfect person perfectly.

Relationships are like yard sales, they look really fun from a couple hundred feet away, but then you realize its just a bunch of crap you don't need.

I dont know what I'd do without you, I dont know where I'd be, your not just another boy, your everything to me.

Thing I will never do is betray you. 2. Things I will always do is love and cherish you. 3. Words I won't stop telling you I LOVE YOU.

My days get better by talking to you, saying I love you is what I like to say. If we broke apart I wouldn't know what to do, but being with you is a miracle that I say every day.

When I'm with you I'm happy, when we hug its like I dont ever want to let go, when you make me smile it brings the sunshine out in me, when I see you and our eyes meet, its like something i've never felt before.

I'll be your crying shoulder, I'll be love's suicide, I'll be better when I'm older, I'll be the greatest fan of your life.

We fight, we cry, we laugh, and we know each other like the back of our hands. Not only are you my best friend, but my significant other, and I wouldn't change that for anything.

Relationship between two person should be like the relationship between the hand and the eye. If the hand gets hurt, the eye cries, and if the eye cries the hand wipes its tear.

Let them talk, and talk and talk. Let them say what they want. We will laugh at the thought they dont know what we've got. Every year that goes by, a year older we are. You'll still be beautiful then, bless your beautiful heart.

If it wasn't for you, my life wouldn't have a purpose, you changed me for who I am and today I could never forget that day and it will always remain that way.

I wanna be the one your ex will hate, your mom will love, and the one you'll never forget.

Your imperfections make you perfect, your insecurities make you secure, but your flaws...They make you flawless.

You know he's the one when you're more than a year into the relationship and you both can still talk to one another with as much excitement as if it was on your first date :)

Out of the people that are in this world, I only want you. Out of all my past loves, you're the only one I really knew.

Dreaming of you makes my nights worth while, just thinking of you makes me smile. Being with you is the best thing ever and loving you is what I'll do forever...

I promise to be there for you when you need me, I promise to hug you tight when you're lonely, I promise to keep you, not for the rest of my life but for the rest of yours because you are my everything.

You don't have to promise me the moon or the stars, just promise you'll stay under them with me forever.

Relationship Quotes Funny

Relationship Quotes Funny

Relationship Quotes Funny

Relationship Quotes Funny

Relationship Quotes Funny

Relationship Quotes Funny

Relationship Quotes Funny

Relationship Quotes Funny

Relationship Quotes Funny

Relationship Quotes Funny

Relationship Quotes Funny

Relationship Quotes Funny

Relationship Quotes Funny

Classic Love Poems Definition

Classic Love Poems Definition

Source(google.com.pk)
W.S. Merwin is a major American writer whose poetry, translations, and prose have won praise since W.H. Auden awarded his first book, A Mask for Janus (1952), the Yale Younger Poets Prize. Though that first book reflected the formalism of the period, Merwin eventually became known for an impersonal, open style that eschewed punctuation. Writing in the Guardian, Jay Parini described Merwin’s mature style as “his own kind of free verse, [where] he layered image upon bright image, allowing the lines to hang in space, largely without punctuation, without rhymes . . . with a kind of graceful urgency.” Although Merwin’s writing has undergone stylistic changes through the course of his career, a recurring theme is man’s separation from nature. The poet sees the consequences of that alienation as disastrous, both for the human race and for the rest of the world. Merwin, who is a practicing Buddhist as well as a proponent of deep ecology, has lived since the late 1970s on an old pineapple plantation in Hawaii which he has painstakingly restored to its original rainforest state.

Merwin was born in New York City in 1927 and raised in New Jersey and Scranton, Pennsylvania, the son of a Presbyterian minister. Of his development as a writer, Merwin once said, “I started writing hymns for my father almost as soon as I could write at all, illustrating them . . . But the first real writers that held me were not poets: Conrad first, and then Tolstoy, and it was not until I had received a scholarship and gone away to the university that I began to read poetry steadily and try incessantly, and with abiding desperation, to write it.”  Merwin attended Princeton University and studied with R.P. Blackmur and John Berryman. After graduating in 1948, he continued as a post-graduate student of Romance languages and eventually traveled through much of Europe, translating poetry and working as a tutor, including for the son of poet Robert Graves. Merwin’s early collections—especially A Mask for Janus—reflect the influence of Graves and the medieval poetry Merwin was translating at the time.

Indeed, the poetic forms of many eras and societies are the foundation for a great deal of Merwin’s poetry. His first books contain many pieces inspired by classical models. According to Vernon Young in the American Poetry Review, the poems are traceable to “Biblical tales, Classical myth, love songs from the Age of Chivalry, Renaissance retellings; they comprise carols, roundels, odes, ballads, sestinas, and they contrive golden equivalents of emblematic models: the masque, the Zodiac, the Dance of Death.” In 1956, Merwin was offered a fellowship from the Poets’ Theater in Cambridge, Massachusetts and returned to the U.S. His books from this period, Green with Beasts (1956) and The Drunk in the Furnace (1960), show the beginning of a shift in style and tone as Merwin began to experiment with irregular forms. The Drunk in the Furnace, which was written during Merwin’s tenure in Boston when he was meeting poets like Robert Lowell, particularly shows his new engagement with American themes. His obsession with the meaning of America and its values can make Merwin sometimes seem like the great nineteenth-century poet Walt Whitman, L. Edwin Folsom noted in Shenandoah. “His poetry . . . often implicitly and sometimes explicitly responds to Whitman; his twentieth-century sparsity and soberness—his doubts about the value of America—answer, temper, Whitman’s nineteenth-century expansiveness and exuberance—his enthusiasm over the American creation.”

Merwin’s next books are his most critically acclaimed and continue to be influential volumes. The Lice (1967), though often read as a response to the Vietnam War, condemns modern man in apocalyptic and visionary terms. “These are poems not written to an agenda but that create an agenda,” wrote poet and critic Reginald Shepherd, “preserving and recreating the world in passionate words. Merwin has always been concerned with the relationship between morality and aesthetics, weighing both terms equally. His poems speak back to the fallen world not as tracts but as artistic events.” The Lice remains one of Merwin’s best-known volumes of poetry. His next book, The Carrier of Ladders (1970) won the Pulitzer Prize for poetry in 1971. He famously donated the prize money to the draft resistance movement, writing an essay for the New York Review of Books that outlined his objections to the Vietnam War. His article spiked the ire of W.H. Auden, who wrote a response arguing that the award was apolitical. The Carrier of Ladders shows Merwin continuing to engage with American themes and nature, and includes a long sequence on American westward expansion. That same year, Merwin published The Miner’s Pale Children: A Book of Prose. Reviewing both volumes for the New York Times, Helen Vendler noted that “these books invoke by their subtitles the false distinction between prose and poetry: the real distinction is between prose and verse, since both are books of poems, with distinct resemblances and a few differences.”

Merwin moved to Hawaii to study Zen Buddhism in 1976. He eventually settled in Maui and began to restore the forest surrounding his former plantation. Both the rigor of practicing Buddhism and the tropical landscape have greatly influenced Merwin’s later style. His next books increasingly show his preoccupation with the natural world. The Compass Flower (1977), Opening the Hand (1983), and The Rain in the Trees (1988) “are concerned not only with what to renounce in the metropolis but also what to preserve in the country,” noted Ed Hirsch in the New York Times. Many of the poems in the last volume “immerse themselves in nature with a fresh sense of numinousness,” said Hirsch, while also mourning the loss of that nature to human greed and destruction. Merwin has continued to produce striking poems using nature as a backdrop. The Vixen (1996), for instance, is an exploration of the rural forest in southwestern France that Merwin called home for many years. New Yorker critic J. D. McClatchy remarked that “the book is suffused with details of country life—solitary walks and garden work, woodsmoke, birdsong, lightfall.” But Merwin’s later poetry doesn’t merely describe the natural world; it also records and condemns the destruction of nature, from the felling of sacred forests to the extinction of whole species. Migration: New and Selected Poems (2005) exposes Merwin’s evolution as a stylist over half a century but also shows, as Ben Lerner noted in his review of the volume for Jacket, that “Merwin . . . is an unwaveringly political poet . . .  [he] not only tracks the literal impoverishment of our planet, but he makes it symbolize the impoverishment of our culture’s capacity for symbolization.” Migration was awarded the National Book Award for poetry.

Some literary critics have identified Merwin with the group known as the oracular poets, but Merwin himself once commented: “I have not evolved an abstract aesthetic theory and am not aware of belonging to any particular group of writers.” Reviewing Migration for the New York Times, Dan Chiasson described Merwin poems as “secular prophecy grounded on perceptual fineness.” But while Merwin’s work from the 1960s and early ‘70s perhaps best embody this mode, Chiasson believed that “its signature open form has been preserved whatever the occasion. What began as stylistic necessity has become a mannerism.” Merwin has continued to win high praise for his poetry, however, including the 2009 Pulitzer Prize for his collection The Shadow of Sirius (2008). The book’s three sections deal with childhood and memory, death and wisdom, and are some of the most autobiographical of his career. The Pulitzer Prize committee cited the book for its “luminous, often-tender poems that focus on the profound power of memory.”

Classic Love Poems

Classic Love Poems

Classic Love Poems

Classic Love Poems

Classic Love Poems

Classic Love Poems

Classic Love Poems

Classic Love Poems

Classic Love Poems

Classic Love Poems

Classic Love Poems

What Is Love Poem Definition

What Is Love Poem Definition

Source(google.com.pk)
W.S. Merwin is a major American writer whose poetry, translations, and prose have won praise since W.H. Auden awarded his first book, A Mask for Janus (1952), the Yale Younger Poets Prize. Though that first book reflected the formalism of the period, Merwin eventually became known for an impersonal, open style that eschewed punctuation. Writing in the Guardian, Jay Parini described Merwin’s mature style as “his own kind of free verse, [where] he layered image upon bright image, allowing the lines to hang in space, largely without punctuation, without rhymes . . . with a kind of graceful urgency.” Although Merwin’s writing has undergone stylistic changes through the course of his career, a recurring theme is man’s separation from nature. The poet sees the consequences of that alienation as disastrous, both for the human race and for the rest of the world. Merwin, who is a practicing Buddhist as well as a proponent of deep ecology, has lived since the late 1970s on an old pineapple plantation in Hawaii which he has painstakingly restored to its original rainforest state.

Merwin was born in New York City in 1927 and raised in New Jersey and Scranton, Pennsylvania, the son of a Presbyterian minister. Of his development as a writer, Merwin once said, “I started writing hymns for my father almost as soon as I could write at all, illustrating them . . . But the first real writers that held me were not poets: Conrad first, and then Tolstoy, and it was not until I had received a scholarship and gone away to the university that I began to read poetry steadily and try incessantly, and with abiding desperation, to write it.”  Merwin attended Princeton University and studied with R.P. Blackmur and John Berryman. After graduating in 1948, he continued as a post-graduate student of Romance languages and eventually traveled through much of Europe, translating poetry and working as a tutor, including for the son of poet Robert Graves. Merwin’s early collections—especially A Mask for Janus—reflect the influence of Graves and the medieval poetry Merwin was translating at the time.

Indeed, the poetic forms of many eras and societies are the foundation for a great deal of Merwin’s poetry. His first books contain many pieces inspired by classical models. According to Vernon Young in the American Poetry Review, the poems are traceable to “Biblical tales, Classical myth, love songs from the Age of Chivalry, Renaissance retellings; they comprise carols, roundels, odes, ballads, sestinas, and they contrive golden equivalents of emblematic models: the masque, the Zodiac, the Dance of Death.” In 1956, Merwin was offered a fellowship from the Poets’ Theater in Cambridge, Massachusetts and returned to the U.S. His books from this period, Green with Beasts (1956) and The Drunk in the Furnace (1960), show the beginning of a shift in style and tone as Merwin began to experiment with irregular forms. The Drunk in the Furnace, which was written during Merwin’s tenure in Boston when he was meeting poets like Robert Lowell, particularly shows his new engagement with American themes. His obsession with the meaning of America and its values can make Merwin sometimes seem like the great nineteenth-century poet Walt Whitman, L. Edwin Folsom noted in Shenandoah. “His poetry . . . often implicitly and sometimes explicitly responds to Whitman; his twentieth-century sparsity and soberness—his doubts about the value of America—answer, temper, Whitman’s nineteenth-century expansiveness and exuberance—his enthusiasm over the American creation.”

Merwin’s next books are his most critically acclaimed and continue to be influential volumes. The Lice (1967), though often read as a response to the Vietnam War, condemns modern man in apocalyptic and visionary terms. “These are poems not written to an agenda but that create an agenda,” wrote poet and critic Reginald Shepherd, “preserving and recreating the world in passionate words. Merwin has always been concerned with the relationship between morality and aesthetics, weighing both terms equally. His poems speak back to the fallen world not as tracts but as artistic events.” The Lice remains one of Merwin’s best-known volumes of poetry. His next book, The Carrier of Ladders (1970) won the Pulitzer Prize for poetry in 1971. He famously donated the prize money to the draft resistance movement, writing an essay for the New York Review of Books that outlined his objections to the Vietnam War. His article spiked the ire of W.H. Auden, who wrote a response arguing that the award was apolitical. The Carrier of Ladders shows Merwin continuing to engage with American themes and nature, and includes a long sequence on American westward expansion. That same year, Merwin published The Miner’s Pale Children: A Book of Prose. Reviewing both volumes for the New York Times, Helen Vendler noted that “these books invoke by their subtitles the false distinction between prose and poetry: the real distinction is between prose and verse, since both are books of poems, with distinct resemblances and a few differences.”

Merwin moved to Hawaii to study Zen Buddhism in 1976. He eventually settled in Maui and began to restore the forest surrounding his former plantation. Both the rigor of practicing Buddhism and the tropical landscape have greatly influenced Merwin’s later style. His next books increasingly show his preoccupation with the natural world. The Compass Flower (1977), Opening the Hand (1983), and The Rain in the Trees (1988) “are concerned not only with what to renounce in the metropolis but also what to preserve in the country,” noted Ed Hirsch in the New York Times. Many of the poems in the last volume “immerse themselves in nature with a fresh sense of numinousness,” said Hirsch, while also mourning the loss of that nature to human greed and destruction. Merwin has continued to produce striking poems using nature as a backdrop. The Vixen (1996), for instance, is an exploration of the rural forest in southwestern France that Merwin called home for many years. New Yorker critic J. D. McClatchy remarked that “the book is suffused with details of country life—solitary walks and garden work, woodsmoke, birdsong, lightfall.” But Merwin’s later poetry doesn’t merely describe the natural world; it also records and condemns the destruction of nature, from the felling of sacred forests to the extinction of whole species. Migration: New and Selected Poems (2005) exposes Merwin’s evolution as a stylist over half a century but also shows, as Ben Lerner noted in his review of the volume for Jacket, that “Merwin . . . is an unwaveringly political poet . . .  [he] not only tracks the literal impoverishment of our planet, but he makes it symbolize the impoverishment of our culture’s capacity for symbolization.” Migration was awarded the National Book Award for poetry.

Some literary critics have identified Merwin with the group known as the oracular poets, but Merwin himself once commented: “I have not evolved an abstract aesthetic theory and am not aware of belonging to any particular group of writers.” Reviewing Migration for the New York Times, Dan Chiasson described Merwin poems as “secular prophecy grounded on perceptual fineness.” But while Merwin’s work from the 1960s and early ‘70s perhaps best embody this mode, Chiasson believed that “its signature open form has been preserved whatever the occasion. What began as stylistic necessity has become a mannerism.” Merwin has continued to win high praise for his poetry, however, including the 2009 Pulitzer Prize for his collection The Shadow of Sirius (2008). The book’s three sections deal with childhood and memory, death and wisdom, and are some of the most autobiographical of his career. The Pulitzer Prize committee cited the book for its “luminous, often-tender poems that focus on the profound power of memory.”

In addition to writing poetry, prose and drama, Merwin is an accomplished and prolific translator of poetry. His translation of Dante’s Purgatorio (2000) and the Middle English epic Sir Gawain and the Green Knight (2004) both won high praise for their graceful, accessible verse. Merwin has also translated poets as diverse as Osip Mandelstam and Pablo Neruda. His many honors include, the Bollingen Prize, two Pulitzer Prizes, the Aiken Taylor Award for Modern American Poetry a Ford Foundation grant, the Ruth Lilly Poetry Prize, the PEN Translation Prize, the Shelley Memorial Award, the Wallace Stevens Award, and a Lila Wallace-Reader’s Digest Writers’ Award. He has also been awarded fellowships from The Academy of American Poets, the Guggenheim Foundation, the National Endowment for the Arts, and the Rockefeller Foundation. Merwin is a former Chancellor of The Academy of American Poets and has served as Special Consultant in Poetry to the Library of Congress in 1999-2000 and as Poet Laureate in 2010-2011.

Merwin was once asked what social role a poet plays—if any—in America. He commented: “I think there’s a kind of desperate hope built into poetry now that one really wants, hopelessly, to save the world. One is trying to say everything that can be said for the things that one loves while there’s still time. I think that’s a social role, don’t you? ... We keep expressing our anger and our love, and we hope, hopelessly perhaps, that it will have some effect. But I certainly have moved beyond the despair, or the searing, dumb vision that I felt after writing The Lice; one can’t live only in despair and anger without eventually destroying the thing one is angry in defense of. The world is still here, and there are aspects of human life that are not purely destructive, and there is a need to pay attention to the things around us while they are still around us. And you know, in a way, if you don’t pay that attention, the anger is just bitterness.”

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