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Love isn't necessarily what one expects it to be. Shock, disillusionment and analysis will be occasionally the ultimate results of relationships gone wrong. Dorothy Parker, Mary Coleridge, and Robert Browning, all show these common themes, as well as other people, through the usage of romantic motifs in various tones, from the classics "One Perfect Rose", "The Poison Flower" and "Porphyria's Lover." From the very first movie, Dorothy Parker's "One Perfect Rose", she describes the high expectations the speaker has towards suitors. On the surface this is revealed in a materialistic sense; the speaker expresses her apparent discontent with the one "rose" her suitor has attracted her because she anticipated more extravagance. In a post in " Student Resources at Context", this meaning is researched. "The improved is depicted as using the suitors love hidden within its petals as well as owning a certain charisma such as an amulet would." (Student Resources in Context) The traditional romantic symbolism of this rose is downplayed as the speaker shows her cynical feelings on the slightly cliche concept of this improved for a representation of love. The constant iambic pentameter/diameter and replica of this title, in a specific way, mirrors the consequences in how suitors approach her. Her suitors attempts are not exceptional enough to exude her deep longing to be a bride, but to be taken away in a limousine; since they are all the same, not exceptional enough to carry her hand in matrimony. Her appetite for some thing special is so deeper than a mere genuine selves. The speaker includes a grander feel of itself love and believes that she deserves something a lot more meaningful, dignified and lasting than that which is provided. The rose suggests impermanence and the merry natu...