Your hotness

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1. # Breakdown and analysis of the “poem”.

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   Well… Where do I start? Firstly, let me say that I am not a native english speaker and so I am totally aware that probably some phrases don’t sound perfectly natural, partially because of what I’ve just said and partially also because of a bit of poetic license that certainly does not hurt, but rather helps to follow (or at least try to follow) the rules of a poetic structure. This is isn’t an excuse but more of a thing I felt I needed to preface, so in case you notice something off now you know why.

   **STRUCTURE / FORM**

   Ok so this “thing” you have just read is (or at least should be) a sonnet, more specifically a “*Petrarchan / Italian Sonnet”*, and it’s divided in an octave and an answering sestet (both are dived in two parts). The italian sonnet is a bit stricter than the *Shakespearean Sonnet:* its structure is defined, speaking of rhymes, generally in this way: ABAB ABAB CDE CDE or some sort of variation.

   Here it’s where I said “you know what, f– it” and decided to mix the two structures a little bit: in fact it’s ABAB BCBC CBC BCB, (but I mean, in the end it’s just another variation). Speaking of syllables/stresses I just followed *not-that-strictly* the general length of a hendecasyllable but I counted them in the italian way even if this is in english. I told you at a certain point I gave up.

   **MEANINGS / POETIC DEVICES / OTHER STUFF**

   In this section I just want to tell you about the reasons behind some choices, and maybe even tell you my own interpretation:

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   >*Your hotness, a visceral desire to please,*

   It’s my desire to please (you) or it’s yours? I decided to leave the choice to the reader by omitting the possessive pronoun, but in reality it’s a back and forth between the two lovers: your, (my).

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   >*climbing wild strips, adorn your fine physique,*

   Just a metaphor between an harness and a strong, stable, rampant plant.

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   >*you pervade my mind, got me on my knees,*

   Pretty self explanatory: the lover is in a position of light submission, without any restraints.

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   >*lively flame within, your gaze is what I seek.*

   Here the comma plays an important role, it’s intended to be used just as a pause but can also separate the two pharses: is the flame in your eyes what I seek or the flame is just burning inside of me and I am looking for your eyes?

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   >*Your hotness, an intense lustful mystique,*

   Mystique intended as a her charm/allure.

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   >*your pair of sultry lips, on a body*

   Yes, ok, but *which* pair of lips?

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   >*entangled in black roots, straight and then oblique,*
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   >*be the sweetest fruit of the forbidden tree.*

   Here there’s again the metaphor between the harness and the climbing plant that embellish and cage her body. The image of sin emphasize the idea of a wrong, lust-filled passion: pure raw energy.

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   >*Satisfy my hunger, can’t you hear my plea?*
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   >*Mouths wandering, leave signs on our cheeks;*
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   >*Mark each other for everyone to see.*

   A strong craving of the other, giving pleasure in an almost selfish way: lovers starved of intimacy, love, contact. *Don’t we all crave all of these thing in this period after all?*

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   >*Satisfy my thirst, I’m struggling to speak,*

   One of the reasons behind all the word omissions in the poem: he’s thirsty, his mouth is now dry and above everything else, passion and desire took over him.

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   >*fill my throat with your scent, reveal yourself to me;*

   Another plea for her to open up and accept his loving mouth.

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   >*in your presence I’m bare and I become weak.*

   He finally got rid of everything: his soul is now on display. Sweet vulnerability.

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