love lyric


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Related to love lyric: Love poem
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Noun1.love lyric - the lyric of a love songlove lyric - the lyric of a love song    
lyric, words, language - the text of a popular song or musical-comedy number; "his compositions always started with the lyrics"; "he wrote both words and music"; "the song uses colloquial language"
References in periodicals archive ?
A love lyric, Heine's poem is along the Romantic tradition of return to nature.
I will argue that it is Burns's combining of the qualities of the love song and love lyric which Clare most successfully assimilates in his later verse.
Indeed it has been a long time since Dronke belied the notion of a purely secular genesis of the courtly love lyric.
In contrast to the traditional love lyric, this beloved is plural: the first line reads, "Beloveds, we wake in the morning to darkness and watch it turn into lightness with hope.
While the passionately composed love lyric was an important feature of wooing in olden times, today's men are more inclined to use their mobiles to dash off a text (21 per cent) or an emailed message (11 per cent) to their loved one, according to the Lindt Lindor Code of Modern Chivalry report.
not to mention Petrarchan love lyric, epic, and romance-of all of which, at one time or another, the pastoral partakes.
As the unrequited love lyric unfolds over the cool groove, the similarity deepens.
Recent criticaldiscussions of the poem include Fein, "Compilation and Purpose," especially 72-73, 83-85, and John Scattergood, "The Love Lyric Before Chaucer," in Duncan, Companion, 39-67, esp.
More specifically, Pietroiusti proposes that Loy's fragmentation of the love lyric in Songs to Joannes (1917) constitutes a self-conscious attempt to develop a poetry that confounds traditional, 'linear' strategies of reading.
John Scattergood's scholarly and original essay on the difficult and disparate subject of the love lyric before Chaucer, giving numerous fresh insights into what are, in his words, often 'astonishing and strange texts' (p.
Stewart's wide-ranging book on medieval optics and love lyric reflects growing scholarly interest in the fascinating interaction between scientific and poetic texts.
Guest's reception in the 1960s--seen as determined by a gendered set of aesthetic values--is presented primarily through analysis of one review (by William Dickey in Kenyon Review), and her reconstruction of the love lyric and the gendered conventions of reading it is shown through analysis of one poem from that decade, "Belgravia.