The Sonnet

The SonnetThe Sonnet

Contributions by Glenn Everett, University of Tennessee at Contributions by Glenn Everett, University of Tennessee at Martin, and Vince Gotera, University of Northern IowaMartin, and Vince Gotera, University of Northern Iowa


A sonnet is a fourteen-line poem in iambic A sonnet is a fourteen-line poem in iambic pentameter with a carefully patterned pentameter with a carefully patterned rhyme scheme. Other strict, short poetic rhyme scheme. Other strict, short poetic forms occur in English poetry (the sestina, forms occur in English poetry (the sestina, the villanelle, and the haiku, for example), the villanelle, and the haiku, for example), but none has been used so successfully but none has been used so successfully by so many different poets. by so many different poets.


The The Italian,Italian, or or PetrarchanPetrarchan sonnet, named after sonnet, named after Francesco Petrarch (1304-1374), the Italian Francesco Petrarch (1304-1374), the Italian poet, was introduced into English poetry in the poet, was introduced into English poetry in the early 16th century by Sir Thomas Wyatt (1503-early 16th century by Sir Thomas Wyatt (1503-1542). Its fourteen lines break into an 1542). Its fourteen lines break into an octaveoctave (or (or octetoctet), which usually rhymes ), which usually rhymes abbaabbaabbaabba, but , but which may sometimes be which may sometimes be abbacddcabbacddc or even or even (rarely) (rarely) abababababababab; and a ; and a sestetsestet, which may , which may rhyme rhyme xyzxyzxyzxyz or or xyxyxyxyxyxy, or any of the multiple , or any of the multiple variations possible using only two or three variations possible using only two or three rhyme-sounds. rhyme-sounds.


The The EnglishEnglish or or ShakespeareanShakespearean sonnet, sonnet, developed first by Henry Howard, Earl of developed first by Henry Howard, Earl of Surrey (1517-1547), consists of three Surrey (1517-1547), consists of three quatrains and a couplet--that is, it rhymes quatrains and a couplet--that is, it rhymes abab cdcd efef ggabab cdcd efef gg. .


The form into which a poet puts his or her words The form into which a poet puts his or her words is always something of which the reader ought to is always something of which the reader ought to take conscious note. And when poets have take conscious note. And when poets have chosen to work within such a strict form, that chosen to work within such a strict form, that form and its strictures make up part of what they form and its strictures make up part of what they want to say. In other words, the poet is using the want to say. In other words, the poet is using the structure of the poem as part of the language structure of the poem as part of the language act: we will find the "meaning" not only in the act: we will find the "meaning" not only in the words, but partly in their pattern as well. words, but partly in their pattern as well.

The SonnetThe Sonnet The sonnet can be thematically divided The sonnet can be thematically divided

into two sections: into two sections: The first presents The first presents the themethe theme, raises an , raises an

issue or doubt, issue or doubt, The second part The second part answers the questionanswers the question, ,

resolves the problem, or drives home the resolves the problem, or drives home the poem's point. poem's point.

This change in the poem is called This change in the poem is called thethe turnturn and helps move forward the emotional and helps move forward the emotional action of the poem quickly. action of the poem quickly.


The Italian form, in some ways the simpler The Italian form, in some ways the simpler of the two, usually projects and develops a of the two, usually projects and develops a subject in the octet, then executes a turn subject in the octet, then executes a turn at the beginning of the sestet, so that the at the beginning of the sestet, so that the sestet can in some way release the sestet can in some way release the tension built up in the octave. tension built up in the octave.

““Farewell Love and all thy laws for ever”Farewell Love and all thy laws for ever” Farewell Love and all thy laws for ever, Farewell Love and all thy laws for ever, aa Thy baited hooks shall tangle me no more; Thy baited hooks shall tangle me no more; bb Senec and Plato call me from thy lore Senec and Plato call me from thy lore bb To perfect wealth my wit for to endeavour. To perfect wealth my wit for to endeavour. aa In blind error when I did persever, In blind error when I did persever, aa Thy sharp repulse, that pricketh aye so sore, Thy sharp repulse, that pricketh aye so sore, bb Hath taught me to set in trifles no store Hath taught me to set in trifles no store bb And scape forth, since liberty is lever. And scape forth, since liberty is lever. aa

Therefore farewell; go trouble younger hearts Therefore farewell; go trouble younger hearts cc And in me claim no more authority; And in me claim no more authority; dd With idle youth go use thy property With idle youth go use thy property dd And thereon spend thy many brittle darts. And thereon spend thy many brittle darts. cc For hitherto though I have lost all my time, For hitherto though I have lost all my time, ee Me lusteth no longer rotten boughs to climb. Me lusteth no longer rotten boughs to climb. ee

- Wyatt Devonshire (1557)- Wyatt Devonshire (1557)


The Shakespearean sonnet has a wider The Shakespearean sonnet has a wider range of possibilities. One pattern range of possibilities. One pattern introduces an idea in the first quatrain, introduces an idea in the first quatrain, complicates it in the second, complicates it complicates it in the second, complicates it still further in the third, and resolves the still further in the third, and resolves the whole thing in the final couplet. whole thing in the final couplet.

““Sonnet 138” or “When My Love Swears Sonnet 138” or “When My Love Swears that She is Made of Truth”that She is Made of Truth”

WhenWhen my love swears that she is made of truth my love swears that she is made of truth aa I do believe her, though I know she lies, I do believe her, though I know she lies, bb That she might think me some untutor'd youth, That she might think me some untutor'd youth, aa Unlearned in the world's false subtleties. Unlearned in the world's false subtleties. bb

ThusThus vainly thinking that she thinks me young, vainly thinking that she thinks me young, cc Although she knows my days are past the best, Although she knows my days are past the best, dd Simply I credit her false speaking tongue: Simply I credit her false speaking tongue: cc On both sides thus is simple truth suppress'd. On both sides thus is simple truth suppress'd. dd

But whereforeBut wherefore says she not she is unjust? says she not she is unjust? ee And wherefore say not I that I am old? And wherefore say not I that I am old? ff O, love's best habit is in seeming trust, O, love's best habit is in seeming trust, ee And age in love loves not to have years told: And age in love loves not to have years told: ff

ThereforeTherefore I lie with her and she with me, I lie with her and she with me, gg And in our faults by lies we flatter'd be. And in our faults by lies we flatter'd be. gg - William Shakespeare - William Shakespeare

{First quatrain; note the puns and the intellectual games: [I know she lies, so I believe her so that she will believe me to be young and untutored]} {Second quatrain: [Well of course I know that she doesn't really think I'm young, but I have to pretend to believe her so that she will pretend that I'm young]} {Third quatrain: [so why don't we both fess up? because love depends upon trust and upon youth]} {Final couplet, and resolution: [we lie to ourselves and to each other, so that we may flatter ourselves that we are young, honest, and in love]. Note especially the puns.


You can see how this form would attract You can see how this form would attract writers of great technical skill who are writers of great technical skill who are fascinated with intellectual puzzles and fascinated with intellectual puzzles and intrigued by the complexity of human intrigued by the complexity of human emotions, which become especially emotions, which become especially tangled when it comes to dealing with the tangled when it comes to dealing with the sonnet's traditional subjects, love and sonnet's traditional subjects, love and faith. faith.


Pay close attention to line-end Pay close attention to line-end punctuation, especially at lines four, eight, punctuation, especially at lines four, eight, and twelve, and to connective words like and twelve, and to connective words like and, or, but, as, so, if, then, when,and, or, but, as, so, if, then, when, or or whichwhich at the beginnings of lines (especially at the beginnings of lines (especially lines five, nine, and thirteen). lines five, nine, and thirteen).

ReviewReview The The Italian,Italian, or or PetrarchanPetrarchan sonnet: sonnet:

• Fourteen lines Fourteen lines • Iambic pentameterIambic pentameter• Consists of an Consists of an octet octet (eight lines) of two envelope (eight lines) of two envelope

quatrainsquatrains Usually Usually abba abbaabba abba, , Sometimes Sometimes abba cddcabba cddc,, Or rarely Or rarely abab abababab abab; ; The turn occurs at the end of the octet and is The turn occurs at the end of the octet and is

developed and closed in the sestet.developed and closed in the sestet.• And a And a sestetsestet (six lines) (six lines)

Which may rhyme Which may rhyme xyzxyzxyzxyz Or Or xyxyxyxyxyxy

ReviewReview

The The EnglishEnglish or or ShakespeareanShakespearean sonnet: sonnet:• Fourteen lines Fourteen lines

• Iambic pentameterIambic pentameter

• Consists of Consists of three Sicilian quatrainsthree Sicilian quatrains (four (four lines)lines)

• And a And a heroicheroic coupletcouplet (two lines) (two lines)

• Rhymes: Rhymes: abab cdcd efef ggabab cdcd efef gg• The turn comes at or near line 13The turn comes at or near line 13

Renaissance PoetryRenaissance Poetry

Pastoral: Poems with an emphasis on the Pastoral: Poems with an emphasis on the countryside. EX: Marlowe’s Passionate countryside. EX: Marlowe’s Passionate Shepherd to his Love”Shepherd to his Love”

Epithalmia: Wedding SongsEpithalmia: Wedding Songs Epigrams: Brief poems mocking or Epigrams: Brief poems mocking or

praising fictitious peoplepraising fictitious people Epitaphs: Poems honoring the deadEpitaphs: Poems honoring the dead

SongsSongs

Songs are words set to music. Separate Songs are words set to music. Separate the lyrics of your favorite song from the the lyrics of your favorite song from the musical accompaniment, and you have a musical accompaniment, and you have a poem.poem.

Airs: usually sung as solosAirs: usually sung as solos Madrigals: usually a group Madrigals: usually a group

Poetry TermsPoetry Terms

Conceits; Extended metaphors, putting Conceits; Extended metaphors, putting totally unlike objects together. EX: Lovers totally unlike objects together. EX: Lovers being compared to a compass needle. being compared to a compass needle. John Donne is famous for conceitsJohn Donne is famous for conceits

Narrative PoemsNarrative Poems EpicsEpics Carpe Diem Poems: Seize the Day PoemsCarpe Diem Poems: Seize the Day Poems

Renaissance PoetryRenaissance Poetry

These poems are replete with clever These poems are replete with clever words and punswords and puns

There was almost always a definite meterThere was almost always a definite meter Poems were not in ordinary language Poems were not in ordinary language

because poets of the time believed poems because poets of the time believed poems should ‘”fit” formal patternsshould ‘”fit” formal patterns

Purpose: to describe places, to educate Purpose: to describe places, to educate and instruct, to entertainand instruct, to entertain

The SonnetThe Sonnet Now it’s your turn. Write an original sonnet, following the Now it’s your turn. Write an original sonnet, following the

Petrarchan or Shakespearean style. Petrarchan or Shakespearean style. A sonnet can be helpful when writing about emotions that are A sonnet can be helpful when writing about emotions that are

difficult to articulate. It is a short poem, so there is only so difficult to articulate. It is a short poem, so there is only so much room to work in. As well, the turn forces the poet to much room to work in. As well, the turn forces the poet to express what may not be normally expressible. Hopefully, express what may not be normally expressible. Hopefully, you'll find yourself saying things you didn't know you were you'll find yourself saying things you didn't know you were going to say, didn't know you could say, but that give you a going to say, didn't know you could say, but that give you a better understanding of the emotions that drive the writing of better understanding of the emotions that drive the writing of the poem. the poem.

The turn usually takes care of itself somehow, and the more The turn usually takes care of itself somehow, and the more the writer worries about it, the more difficult it will be to reach. the writer worries about it, the more difficult it will be to reach. As with any poem, let the structure guide you, not vice versa. As with any poem, let the structure guide you, not vice versa. If you allow the feel and movement of the sonnet to take the If you allow the feel and movement of the sonnet to take the poem to the next line, the turn will happen and the sonnet will poem to the next line, the turn will happen and the sonnet will be well on its way to being complete. be well on its way to being complete.

Documents

The Sonnet