Sonnets - David-Glen Spenser (1552 — 1599) || Amoretti Edmund Spenser crafted the Spenserian Sonnet combining the Italian sonnet with the English sonnet, following the three quatrains and couplet concept from the English traditional form.

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<ul><li><p>106.24.13 || English 2322: British Literature: Anglo-Saxon Mid 18th Century || D. Glen Smith, instructor</p><p>Sonnets</p></li><li><p>2</p><p>Sonnets</p><p>06.24.13 || English 2322: British Literature: Anglo-Saxon Mid 18th Century || D. Glen Smith, instructor</p><p>Edmund Spenser (1552 1599) || Amoretti</p><p>Edmund Spenser crafted the Spenserian Sonnet combining the Italian sonnet </p><p>with the English sonnet, following the three quatrains and couplet concept from </p><p>the English traditional form.</p><p> HisrhymeschemefollowsahybridofItalianandEnglish:</p><p> Italian : ABAB / ABAB / CDC / CDC</p><p> English: ABAB / CDCD / EFEF / GG</p><p> Spencerian: ABAB/BCBC/CDCD/EE</p><p> Likewisehedividesthethemeintothreesections:</p><p> &gt; statement of the problem, as a thesis; the opening quatrain is </p><p> usuallyonesentence</p><p> &gt; exploration of the problemintheresultingoctave</p><p> &gt; a resolution appears in the ending couplet</p></li><li><p>3</p><p>Sonnets</p><p>06.24.13 || English 2322: British Literature: Anglo-Saxon Mid 18th Century || D. Glen Smith, instructor</p><p>Emund Spenser (1552 1599)</p><p>from Amoretti || I </p><p>(see page 676 in Longman for comparison)</p><p>Happyyeleaves!whenasthoselillyhands,</p><p>Whichholdmylifeintheirdeaddoingmight,</p><p>Shallhandleyouandholdinlovessoftbands,</p><p>Lykecaptivestremblingatthevictorssight.</p><p>Andhappylines,onwhich,withstarrylight,</p><p>Thoselampingeyeswilldeignesometimestolook,</p><p>Andreadethesorrowesofmydyingspright,</p><p>Writtenwithtearesinhartsclosebleedingbook.</p><p> (octave ends/sestet begins; Spenser blurs the two together)</p><p>And happyrymesbathedinthesacredbrooke,</p><p>OfHelicon,whenceshederivd is,</p><p>WhenyebeholdthatAngelsblessdlooke,</p><p>Mysouleslonglackdfoode,myheavensblis.</p><p>Leaves,lines,andrymesseekehertopleasealone,</p><p>Whomifyeplease,Icareforothernone.</p><p>thesis: problem </p><p>established in opening </p><p>quatrain</p><p>problem discussed</p><p>in following octave.</p><p>problem resolved </p><p>in final couplet</p><p>A </p><p>B </p><p>A </p><p>B </p><p>B </p><p>C </p><p>B </p><p>C</p><p>C </p><p>D </p><p>C </p><p>D </p><p>E </p><p>E</p><p>5</p><p>5</p><p>5</p><p>5</p><p>5</p><p>5</p><p>5</p><p>5</p><p>5</p><p>5</p><p>5</p><p>5</p><p>5</p><p>5</p><p>Edmund Spensers Poetry.Secondedition.HughMacLean,ed.W.W.Norton&amp;Co.,NewYork,1982.Print.</p><p>Rhyme scheme || Meter</p></li><li><p>4</p><p>Sonnets</p><p>06.24.13 || English 2322: British Literature: Anglo-Saxon Mid 18th Century || D. Glen Smith, instructor</p><p>Thispoemintroducesthefullsequenceof89sonnets,titledAmoretti. </p><p>ThetitletranslatestolittleloveinItalian.</p><p> ThemainimagethepoemshowsisthewomanSpensercourts,Elizabeth, </p><p> holdingthecollectionofworksinherhands,reading. </p><p> Theover-allthemesexpressedinthebookleantowardsamoreoptimistic </p><p> approach,resultinginanti-Petrarchanconcepts.Atthesametime,Spenser </p><p> willmaintainsomePetrarchanconceitssoastonottotallymoveawayfrom </p><p> thetraditionalform.NoticeElizabethhaslifeanddeathpoweroverthe </p><p> poet-persona,asshowninline2-4.</p><p> AstressisplacedonElizabethseyes,developingacommonmetaphorofthe </p><p> Belovedspoweroflove.</p><p> SpenseralsoutilizesanimagefromGreekmyth:Helicon,themountainfrom </p><p> wheretheNineMuseslivethenreturnstoChristiansymbols,by </p><p> expressinghowhissoullongsfornourishmentfromherAngelsblessed </p><p> looke(l.11)combiningherasbothGreekgoddessanddivineangel.</p></li><li><p>5</p><p>Sonnets</p><p>06.24.13 || English 2322: British Literature: Anglo-Saxon Mid 18th Century || D. Glen Smith, instructor</p><p>Emund Spenser</p><p>from Amoretti || IX </p><p>LongwhileIsoughttowhatImightcompare</p><p>Thosepowerfuleyes,whichlightenmydarksight,</p><p>YetfindInoughtonearthtowhichIdare</p><p>Resemblethimageoftheirgoodlylight.</p><p>Nottothesun,fortheydoshinebynight;</p><p>Nortothemoon,fortheyarechangednever;</p><p>Nortothestars,fortheyhavepurersight;</p><p>Nortothefire,fortheyconsumenotever;</p><p>Nortothelightning,fortheystillpersever;</p><p>Nortothediamond,fortheyaremoretender;</p><p>Noruntocrystal,farnoughtmaythemsever;</p><p>Noruntoglass,suchbasenessmightoffendher;</p><p>ThentotheMakerselftheylikestbe,</p><p>Whose light doth lighten all that here we see.</p><p>thesis: problem </p><p>established in opening </p><p>quatrain</p><p>problem discussed</p><p>in following octave.</p><p>problem resolved </p><p>in final couplet</p><p>A </p><p>B </p><p>A </p><p>B </p><p>B </p><p>C </p><p>B </p><p>C </p><p>C </p><p>D </p><p>C </p><p>D </p><p>E </p><p>E</p><p>5</p><p>5.5</p><p>5</p><p>5</p><p>5</p><p>5</p><p>5</p><p>5.5 /(6?)</p><p>5.5</p><p>5.5</p><p>5.5</p><p>5.5</p><p>5</p><p>5</p><p>English Sixteenth-Century Verse: An Anthology.RichardS.Sylvester,ed.W.W.Norton&amp;Co.,NewYork,1974.Print.</p><p>Rhyme scheme || Meter</p></li><li><p>6</p><p>Sonnets</p><p>06.24.13 || English 2322: British Literature: Anglo-Saxon Mid 18th Century || D. Glen Smith, instructor</p><p>Noticetheemphasisinline4onthewordsight.Withitfallingastheextrahalf</p><p>foot,itissubconsciouslystressedinthereadersmind.Thecorrelateswiththe</p><p>themeofwantingtodescribehisBelovedseyes,whichblindhimwithlove.</p><p>Withhisnewformula,inthisparticularcasetheoctaveestablishesahierarchy</p><p>oficons,beginningwithmajorelementsfirst,thecelestialobjects,thenworksits</p><p>waydowntoearthlyelements,indescendingorder:</p><p> sun</p><p> moon</p><p> stars</p><p> fire </p><p> lightning</p><p> diamond</p><p> crystal</p><p> glass</p></li><li><p>7</p><p>Sonnets</p><p>06.24.13 || English 2322: British Literature: Anglo-Saxon Mid 18th Century || D. Glen Smith, instructor</p><p> Helikewisetwistsallthenegativesintopositives, </p><p> allthewhilecomplimentinghisBelovedseyes.</p><p> Toforcethisidea,heutilizesatechniquecalled caesura, which is a pause </p><p> innaturalspeakingwhichdoesnotinterferewithmeter. </p><p> Here,thecaesurasrepresentanintakeofbreath.</p><p> InSpenserscase,heemployedthistrickinthestructureofthelistitself, </p><p> breakingbetweentheinferiormodelandtheperfectionoftheeyes.</p><p> Theresolutioncouplettransformswhatappearstobeobviousfailure </p><p> toassertionofpositive:onlyGodcouldbeequaltohereyes. </p><p> ThePoetreachessalvationthroughhisBeloved.</p><p> Likewise,noticeinthiscaseanemphasisisplacedonthepoetsrelationship </p><p> withhispoetryandwithhisBeloved,Elizabeth.Sheisasourceofartforhim </p><p> soitisvitalhemakesastrong,creativeconnectiontobothwritingandherself.</p></li><li><p>8</p><p>Sonnets</p><p>06.24.13 || English 2322: British Literature: Anglo-Saxon Mid 18th Century || D. Glen Smith, instructor</p><p>Emund Spenser </p><p>from Amoretti || LXXV </p><p>(see page 679 in Longman for comparison)</p><p>OnedayIwrotehernameuponthestrand,</p><p>Butcamethewavesandwashditaway:</p><p>AgayneIwroteitwithasecondhand,</p><p>Butcamethetyde,andmademypayneshispray.</p><p>Vayneman,saydshe,thatdoestinvaineassay,</p><p>Amortallthingsotoimmortalize,</p><p>ForImyselveshalllyketothisdecay,</p><p>Andeekmynamebeewypdoutlykewize.</p><p>Not so,quodI,letbaserthingsdevize</p><p>Todyindust,butyoushalllivebyfame:</p><p>Myverse,yourvertuesrareshalleternize,</p><p>Andinthehevenswryteyourgloriousname.</p><p>Where when as death shall all the world subdew, </p><p>Ourloveshalllive,andlaterliferenew.</p><p>thesis: problem </p><p>established in opening </p><p>quatrain</p><p>problem discussed</p><p>in following octave.</p><p>problem resolved </p><p>in final couplet</p><p>A </p><p>B </p><p>A </p><p>B </p><p>B </p><p>C </p><p>B </p><p>C </p><p>C </p><p>D </p><p>C </p><p>D </p><p>E </p><p>E</p><p>5</p><p>5</p><p>5</p><p>5</p><p>5</p><p>5</p><p>5</p><p>5</p><p>5</p><p>5</p><p>5</p><p>5.5</p><p>5</p><p>5</p><p>Edmund Spensers Poetry.Secondedition.HughMacLean,ed.W.W.Norton&amp;Co.,NewYork,1982.Print.</p><p>Rhyme scheme || Meter</p></li></ul>

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