The exploration of a lover's imperfections is an intriguing twist on conventional love poetry, where idealized beauty is often celebrated. This approach can be traced back to literary precedents, most notably in the works of William Shakespeare and William Whitehead. Shakespeare’s Sonnet 130 offers a satirical take on the typical themes of amorous poetry. He humorously dismisses the exaggerated comparisons often used to flatter women. He describes his beloved's eyes as “nothing like the sun,” depicts her hair as “black wires,” and suggests her breath “reeks.” Her cheeks lack the conventional rosy hue, and her movements do not echo those of a goddess. Yet, despite these unromantic descriptors, the concluding couplet reveals his genuine affection, asserting that she is as extraordinary as any woman who might inspire such hyperbolic praise.

Similarly, William Whitehead’s poem, “The ‘Je Ne Sais Quoi’,” written in the eighteenth century, mirrors this approach. He candidly admits that his lover, Celia, does not possess a particularly graceful face, shape, or demeanor. However, he finds himself irresistibly drawn to her enigmatic allure, which he describes as a “provoking charm.” The title itself, using the French term Je ne sais quoi, alludes to an indefinable quality that transcends conventional beauty, capturing the ineffable essence that makes his love profound.

Both poets, through their work, challenge the notion that love is contingent solely on physical perfection. Instead, they celebrate the unique and indescribable qualities that make their lovers exceptional, offering a richer, more nuanced portrayal of love that resonates beyond superficial appearances.

The poem delves into the profound notion that love thrives not despite imperfections but because of them. The poet's voice resonates with an authentic admiration, addressing a real partner rather than an unattainable, idealized figure often depicted in romantic verse. He acknowledges her remarkable ability to nurture and her sharp intellect, albeit gently noting her "quick touch." Inverting the timeworn adage that "love is blind," he suggests that true love is perceptive. It sees clearly, accepts wholeheartedly, and thereby strengthens over time. This perspective underscores the importance of discerning between what truly matters and what does not: her wit and compassion outweigh any minor clumsiness. Through this lens, love emerges not as an illusion of perfection but as an embrace of reality, where each flaw is balanced by a cherished attribute.

Whitehead, in his poem referencing Celia "altogether," captures the essence of how intertwined a person's traits truly are. "Love Poem" builds upon this notion, celebrating the clumsiness and flaws that are inextricable parts of a person's character. Rather than accepting these traits with reluctance, the poem exalts them joyfully. The paradox is evident in the final stanzas: the spilled bourbon, a symbol of clumsiness, paradoxically elevates them to "love’s unbreakable heaven." The poet suggests that if she were to die, thus removing the cause of breakable objects, all toys would shatter simultaneously. This irony fuels the poet's profound devotion, akin to the fervent admiration found in Elizabethan sonnets.

In the fourth and fifth stanzas, Nims employs the royal "we" when referring to himself, a device that underscores how her love elevates him to a regal status. This love transforms her into an object of worship, akin to a goddess, as he declares his admiration at her knees. Moreover, she becomes his muse, inspiring him to "study wry music," even as the sound of breaking glasses becomes a source of artistic inspiration. This intricate tapestry of intertwined traits and emotions portrays love as an all-encompassing force, celebrating the beauty found in imperfections.