The SonnetsThe SonnetsThe most important poetry The most important poetry form you will ever need to form you will ever need to

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The SonnetThe Sonnet

A sonnet is a fourteen-line poem in A sonnet is a fourteen-line poem in iambic pentameter with a carefully iambic pentameter with a carefully patterned rhyme scheme.patterned rhyme scheme.

The sonnet is the most frequently The sonnet is the most frequently used form of poetry.used form of poetry.

The most popular form is the The most popular form is the Shakespearean Sonnet, but there are Shakespearean Sonnet, but there are other kinds such as the other kinds such as the Italian/Petrarch or the Spenserian Italian/Petrarch or the Spenserian Sonnet.Sonnet.

Italian/Petrarch SonnetItalian/Petrarch Sonnet The Italian sonnet is divided into two The Italian sonnet is divided into two

sections by two different groups of sections by two different groups of rhyming sounds. The first 8 lines is called rhyming sounds. The first 8 lines is called the the octaveoctave and rhymes: and rhymes:

a b b a a b b aa b b a a b b a The remaining 6 lines is called the The remaining 6 lines is called the sestetsestet

and can have either two or three rhyming and can have either two or three rhyming sounds, arranged in a variety of ways: sounds, arranged in a variety of ways:

c d c d c dc d c d c dc d d c d cc d d c d cc d e c d ec d e c d ec d e c e dc d e c e dc d c e d cc d c e d c

Italian/Petrarch SonnetItalian/Petrarch Sonnet Simply the poem is divided into two sections Simply the poem is divided into two sections

by the two differing rhyme groups.by the two differing rhyme groups. In accordance with the principle (which In accordance with the principle (which

supposedly applies to supposedly applies to allall rhymed poetry but rhymed poetry but often doesn't), often doesn't), a change from one rhyme a change from one rhyme group to another signifies a change in group to another signifies a change in subject mattersubject matter. .

This change occurs at the beginning of L9 in This change occurs at the beginning of L9 in the Italian sonnet and is called the the Italian sonnet and is called the voltavolta, or , or "turn"; the turn is an essential element of the "turn"; the turn is an essential element of the sonnet form, perhaps sonnet form, perhaps thethe essential element. essential element.

It is at the It is at the voltavolta that the second idea that the second idea is introduced, as in this sonnet by is introduced, as in this sonnet by

Wordsworth:Wordsworth: "London, 1802""London, 1802"

Milton! thou shouldst be living at this hour: Milton! thou shouldst be living at this hour: England hath need of thee: she is a fen England hath need of thee: she is a fen Of stagnant waters: altar, sword, and pen, Of stagnant waters: altar, sword, and pen, Fireside, the heroic wealth of hall and bower, Fireside, the heroic wealth of hall and bower, Have forfeited their ancient English dower Have forfeited their ancient English dower Of inward happiness. We are selfish men; Of inward happiness. We are selfish men; Oh! raise us up, return to us again; Oh! raise us up, return to us again; And give us manners, virtue, freedom, power. And give us manners, virtue, freedom, power.

Thy soul was like a Star, and dwelt apart; Thy soul was like a Star, and dwelt apart; Thou hadst a voice whose sound was like the sea: Thou hadst a voice whose sound was like the sea: Pure as the naked heavens, majestic, free, Pure as the naked heavens, majestic, free, So didst thou travel on life's common way, So didst thou travel on life's common way, In cheerful godliness; and yet thy heart In cheerful godliness; and yet thy heart The lowliest duties on herself did lay. The lowliest duties on herself did lay.

Another exampleAnother example{octave}{octave} 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 {turn; sestet}{turn; sestet} ThereforeTherefore farewell; go trouble younger hearts 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 {and a concluding couplet}{and a concluding couplet} For hitherto though I have lost all my time, For hitherto though I have lost all my time, ee Me lusteth no lenger rotten boughs to climb. Me lusteth no lenger rotten boughs to climb. ee

The Spenserian Sonnet The Spenserian Sonnet

The Spenserian sonnet, invented by The Spenserian sonnet, invented by Edmund Spenser as an outgrowth of Edmund Spenser as an outgrowth of the stanza pattern he used in The the stanza pattern he used in The Faeire Queene (a b a b b c b c c), has Faeire Queene (a b a b b c b c c), has the pattern: the pattern:

a b a b b c b c c d c d e e a b a b b c b c c d c d e e

Spenserian SonnetSpenserian Sonnet

Here, the "abab" pattern sets up Here, the "abab" pattern sets up distinct four-line groups, each of distinct four-line groups, each of which develops a specific idea; which develops a specific idea; however, the overlapping a, b, c, and however, the overlapping a, b, c, and d rhymes form the first 12 lines into d rhymes form the first 12 lines into a single unit with a separated final a single unit with a separated final couplet. couplet.

The three quatrains then develop The three quatrains then develop three distinct but closely related three distinct but closely related ideas, with a different idea (or ideas, with a different idea (or commentary) in the couplet. commentary) in the couplet.

Spenserian SonnetSpenserian Sonnet

Interestingly, Spenser often begins L9 of Interestingly, Spenser often begins L9 of his sonnets with "But" or "Yet," his sonnets with "But" or "Yet," indicating a indicating a voltavolta exactly where it would exactly where it would occur in the Italian sonnet; however, if occur in the Italian sonnet; however, if one looks closely, one often finds that one looks closely, one often finds that the "turn" here really isn't one at all, that the "turn" here really isn't one at all, that the actual turn occurs where the rhyme the actual turn occurs where the rhyme pattern changes, with the couplet, thus pattern changes, with the couplet, thus giving a 12 and 2 line pattern very giving a 12 and 2 line pattern very different from the Italian 8 and 6 line different from the Italian 8 and 6 line pattern.pattern.

Sonnet LIVSonnet LIVOf this World's theatre in which we stay, Of this World's theatre in which we stay,

My love like the Spectator idly sits, My love like the Spectator idly sits, Beholding me, that all the pageants play, Beholding me, that all the pageants play, Disguising diversely my troubled wits. Disguising diversely my troubled wits.

Sometimes I joy when glad occasion fits, Sometimes I joy when glad occasion fits, And mask in mirth like to a Comedy; And mask in mirth like to a Comedy; Soon after when my joy to sorrow flits, Soon after when my joy to sorrow flits, I wail and make my woes a Tragedy. I wail and make my woes a Tragedy.

Yet she, beholding me with constant eye, Yet she, beholding me with constant eye, Delights not in my mirth nor rues my smart; Delights not in my mirth nor rues my smart; But when I laugh, she mocks: and when I cry But when I laugh, she mocks: and when I cry She laughs and hardens evermore her heart. She laughs and hardens evermore her heart.

WhatWhat then can move her? If nor mirth nor moan, then can move her? If nor mirth nor moan, She is no woman, but a senseless stone. She is no woman, but a senseless stone.

Edmund Spenser (1595)Edmund Spenser (1595)

Shakespearean/English Shakespearean/English SonnetSonnet

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. As in the Spenserian, . As in the Spenserian, each quatrain develops a specific idea, but each quatrain develops a specific idea, but one closely related to the ideas in the other one closely related to the ideas in the other quatrains. quatrains.

Not only is the English sonnet the easiest in Not only is the English sonnet the easiest in terms of its rhyme scheme, calling for only terms of its rhyme scheme, calling for only pairs of rhyming words rather than groups pairs of rhyming words rather than groups of 4, but it is the most flexible in terms of of 4, but it is the most flexible in terms of the placement of the the placement of the voltavolta. .

Shakespeare often places the "turn," Shakespeare often places the "turn," as in the Italian, at L9: as in the Italian, at L9:

"Sonnet XXIX""Sonnet XXIX" When in disgrace with Fortune and men's eyes, When in disgrace with Fortune and men's eyes, I all alone beweep my outcast state, I all alone beweep my outcast state, And trouble deaf heaven with my bootless cries, And trouble deaf heaven with my bootless cries, And look upon myself and curse my fate, And look upon myself and curse my fate, Wishing me like to one more rich in hope, Wishing me like to one more rich in hope, Featured like him, like him with friends possessed, Featured like him, like him with friends possessed, Desiring this man's art and that man's scope, Desiring this man's art and that man's scope, With what I most enjoy contented least, With what I most enjoy contented least, YetYet in these thoughts my self almost despising, in these thoughts my self almost despising, Haply I think on thee, and then my state, Haply I think on thee, and then my state, (Like to the lark at break of day arising (Like to the lark at break of day arising From sullen earth) sings hymns at heaven's gate, From sullen earth) sings hymns at heaven's gate, For thy sweet love remembered such wealth brings, For thy sweet love remembered such wealth brings, That then I scorn to change my state with kings. That then I scorn to change my state with kings.

"Sonnet LXXIII""Sonnet LXXIII" That time of year thou mayst in me behold, That time of year thou mayst in me behold, When yellow leaves, or none, or few do hang When yellow leaves, or none, or few do hang Upon those boughs which shake against the cold, Upon those boughs which shake against the cold, Bare ruined choirs, where late the sweet birds sang. Bare ruined choirs, where late the sweet birds sang. In me thou seest the twilight of such day, In me thou seest the twilight of such day, As after sunset fadeth in the west, As after sunset fadeth in the west, Which by and by black night doth take away, Which by and by black night doth take away, Death's second self that seals up all in rest. Death's second self that seals up all in rest. In me thou seest the glowing of such fire, In me thou seest the glowing of such fire, That on the ashes of his youth doth lie, That on the ashes of his youth doth lie, As the deathbed, whereon it must expire, As the deathbed, whereon it must expire, Consumed by that which it was nourished by. Consumed by that which it was nourished by. ThisThis thou perceivest, which makes thy love more thou perceivest, which makes thy love more

strong, strong, To love that well, which thou must leave ere long. To love that well, which thou must leave ere long.

Equally, Shakespeare can delay the Equally, Shakespeare can delay the voltavolta to to the final couplet, as in this sonnet where the final couplet, as in this sonnet where

each quatrain develops a metaphor each quatrain develops a metaphor describing the aging of the speaker, while describing the aging of the speaker, while

the couplet then states the the couplet then states the consequence--"You better love me now consequence--"You better love me now

because soon I won't be here":because soon I won't be here":

Why?Why?

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

Although the two types of sonnet may seem quite Although the two types of sonnet may seem quite different, in actual practice they are frequently hard different, in actual practice they are frequently hard to tell apart. to tell apart.

Both forms break between lines eight and nine; the Both forms break between lines eight and nine; the octave in the Italian frequently breaks into two octave in the Italian frequently breaks into two quatrains, like the English; and its sestet frequently quatrains, like the English; and its sestet frequently ends in a final couplet. ends in a final couplet.

In addition, many Shakespearean sonnets seem to In addition, many Shakespearean sonnets seem to have a turn at line nine and another at the final have a turn at line nine and another at the final couplet; and if a couplet closes an Italian sonnet, it is couplet; and if a couplet closes an Italian sonnet, it is usually because the poet wanted the epigrammatic usually because the poet wanted the epigrammatic effect more characteristic of the Shakespearean effect more characteristic of the Shakespearean form. form.

It behooves the reader to pay close attention It behooves the reader to pay close attention to line-end punctuation, especially at lines to line-end punctuation, especially at lines four, eight, and twelve, and to connective four, eight, and twelve, and to connective words like 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).