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RENAISSANCE SONNETS. ELIZABETHAN PLEASURES AND SORROWS. Ball at court (16th century). Nicholas Hilliard, Young Man among Roses. ca.1587. Where is the young man standing? What are the flowers? How is he dressed? Where is is right hand? What do his face and body express? - PowerPoint PPT Presentation
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RENAISSANCE SONNETS
ELIZABETHAN PLEASURES AND
SORROWS
Ball at court (16th century)
Nicholas Hilliard, Young Man among Roses. ca.1587
Where is the young man standing?What are the flowers?How is he dressed?Where is is right hand?What do his face and body express?What social class does he belong to?
RENAISSANCE POETRY: THE SONNET
DESIRE FORUNATTEINABLE
WOMEN
DESTRUCTIVEEFFECT OF TIME
BEAUTY
FRIENDSHIP
LOVE
THEMES
INFLUENCES
DANTE AND PETRARCH PROVIDED A SET OF CONVENTIONS THE ENGLISH POETS COULD VARY
THE LADY
Giorgione, Laura, ca1550.
“ Think you,if Laura had been Petrarch’s wife, he would have written sonnets all his life?” Lord Byron in Don Juan (1812-1824)
Beautiful but cruel
Idealised figure influenced by Plato’s philosophy
We get no insight into her feelings but only into the poet’s interior world
Her beauty is mortal and fades with the passing of time
PARADOX
THE POET WISHES A LADY BUT AT THE SAME TIME HE HOPES SHE WILL NOT SURRENDER
HE HAS CONFLICTING FEELINGS:
GREAT HAPPINESS VS DEEP DESPERATION
DELIGHT VS PAIN/JEALOUSY
THE SONNET
IMPORTED TO ENGLAND(1580-1610)
TRANSFORMED INTO
ELIZABETHAN SONNET
THE ITALIAN SONNET
(PETRARCHAN)
ITALIAN SONNET: 1 OCTAVE + A SESTET
ABBAABBA
CDECDE
PRESENTATION OF AN ISSUE OR A SITUATION
SOLUTION OF THE PROBLEM OR PERSONAL REFLECTIONS
8TH/9TH LINE: TURNING POINT
CRIN D’ORO CRESPO (Pietro Bembo)
Crin d’oro crespo e d’ambra tersa e pura
Ch’a l’aura su la neve ondeggi e vole,
Occhi soavi e più chiari che ‘l sole,
Da far giorno seren la notte oscura,
Riso,ch’acqueta ogni aspra pena e dura,
Rubini e perle,ond’escono parole
Sì dolci, ch’altro ben l’alma non vole,
Man d’avorio,che i cor ristringe e fura,
Cantar ,che sembra d’armonia divina,
Senno maturo a la più verde etade,
Leggiadria non veduta unqua fra noi,
Giunta a somma beltà somma onestade,
Fur l’esca del mio foco, e sono in voi
Grazie , ch’a poche il ciel largo destina
ELIZABETHAN SONNET: 3 QUATRAINS AND 1 COUPLET1 ST QUATRAIN A
B A B
2ND QUATRAIN C D C D
3RD QUATRAIN E F E F
FINAL COUPLET G ( THE CONCLUSION ADDS AN G EPIGRAMMATIC TONE)
THE ELIZABETHAN SONNET
WAS IMPORTED TO ENGLAND BY SIR THOMAS WYATT AND BY THE EARL OF SURREY
THE FAVOURITE INSTRUMENT OF THE POETS OF QUEEN’S ELIZABETH’S COURT
IS A MORE FLEXIBLE FORM
IT ALLOWS:
TO USE THE TWELVE LINES TO DEAL WITH A SUBJECT, THEN CONFIRM OR DENY IT IN THE FINAL COUPLET
TO DEVELOP THE CONTENT AS IN THE PETRARCHAN SONNET BUT WITH A DIFFERENT SET OF RHYMES
TO PRODUCE THREE DIFFERENT ARGUMENTS OR EXAMPLES AND DRAW CONCLUSIONS IN THE FINAL RHYMING COUPLET
THE COUPLET TENDS TO BE EPIGRAMMATIC AND WITTY IN TONE