The Top Three Sexiest Poems Ever
Asking a person totell you the sexiest poem they’ve ever heard is similar to asking them to name the most beautiful place in the world . the choice is just too vast and, besides, isn’t beauty in the eye of the beholder? Similarly, poetry in all its forms becomes very subjective, so add to the mix the indefinable concept of ‘sexiness’ or erotic lierature and it becomes an impossibility.
More words have been written about love and romance than there are grains of sand on a beach and, if you take into account the countless opinion polls on the internet, many of the following poems are considered to be sexy.
‘Romance’ by Edgar Allen Poe is one such poem, referring very subtly as it does to “forbidden things.” Emily Dickinson’s ‘If those I loved were lost’ also ranks high up in many opinion polls, although a lot of people might find it hard to explain what they thought of as ‘sexiness’ in its eight lines. Even more mysterious is ‘Skunk Hour’ by Robert Lowell, which is about how a man in his prime living in a small town of Maine cannot find love.
E.E. Cummings is also a firm favourite when it comes to sexiness. In his interestingly titled “because I love you last night”, for instance, he delights in using an imagery that rolls and tumbles like the woman of his fantasies, whose “face smile breasts gargled.”
“The Love Song of J Alfred Prufrock” by T S Eliot, on this occasion referring to a man approaching old age, is also known as a sexy poem. Could it be because its opening six lines are delivered in Italian?
Some poems seem to resist categorisation. For instance, in one online poll, Christina Rossetti’s narrative ‘Goblin Market’ is at top of the list. In this lengthy pre-Raphaelite story, the wicked goblins lure Laura and Lizzie with their refrain to “Come buy, come buy, our orchard fruits.” What begins as a seemingly innocent pastoral verse gets into the girls’ precipitous situation, with Lizzie eventually being overcome by the goblins. Its many double-entendre references to juicy peaches, plums and figs are mixed in with a menace which results this poem being the topic of many an academic discussion. Should it be considered it a feminist verse or a religious allegory? Many people would resolutely say it’s just plain sexy.
Then there is blatantly erotic writing, which takes the concept of romantic poetry and drags it forecably to the opposite side of the spectrum. Neil Rollinson’s poetry, for example, causes no confusion about which category it should be in. In ‘French’, where there is eroticism totally unmasked by any of the devices used by Rossetti, he describes “extra-curricular” activities with the private tutor in the “cool expanse of her bed.”
Be it erotic or romantic, it appears the discussion regarding what makes a poem sexy will keep going strong for as long as people keep reading poetry.
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