The SonnetThe Sonnet

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

The SonnetThe Sonnet

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 SonnetThe Sonnet

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 SonnetThe Sonnet

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..

A sonnet isA sonnet is

a lyric poema lyric poem consisting of fourteen linesconsisting of fourteen lines written in iambic pentameterwritten in iambic pentameter with a definite rhyme schemewith a definite rhyme scheme and a definite thought structureand a definite thought structure

A lyric poemA lyric poem

Deals with Deals with emotions, feelings, emotions, feelings, often loveoften love

Iambic pentameter consists ofIambic pentameter consists of

five measures, units, or meters, offive measures, units, or meters, of iambsiambs

An An iambiamb is a metrical foot is a metrical foot consisting ofconsisting of

an unaccented syllable an unaccented syllable UUfollowed by an accented followed by an accented

syllable syllable //..

U /U /a gaina gain

U / U / U / U / im mor tal izeim mor tal ize

Iambic pentameterIambic pentameter

U / U / U / U / U /U / U / U / U / U / One day I wrote her name u pon the strand,One day I wrote her name u pon the strand, U / U / U / U / U /U / U / U / U / U / But came the waves and wash ed it a way:But came the waves and wash ed it a way: U / U / U / U / U /U / U / U / U / U / A gain I wrote it with a sec ond hand,A gain I wrote it with a sec ond hand, U / U / U / U / U /U / U / U / U / U / But came the tide, and made my pains his preyBut came the tide, and made my pains his prey

• Edmund Spenser, Amoretti, Sonnet 75 Edmund Spenser, Amoretti, Sonnet 75

1 2 3 4 5

Rhyme schemeRhyme scheme

Petrarchan (Italian) rhyme scheme:Petrarchan (Italian) rhyme scheme: abba, abba, cd, cd, cdabba, abba, cd, cd, cd abba, abba, cde, cdeabba, abba, cde, cde

Shakespearean (English, or Elizabethan) Shakespearean (English, or Elizabethan) rhyme scheme:rhyme scheme:

abab, cdcd, efef, ggabab, cdcd, efef, gg

Sonnet 18Sonnet 18

Shall I compare thee to a summer's dShall I compare thee to a summer's dayay??Thou art more lovely and more temperThou art more lovely and more temperateate::Rough winds do shake the darling buds of MRough winds do shake the darling buds of Mayay, , And summer's lease hath all too short a dAnd summer's lease hath all too short a dateate::Sometime too hot the eye of heaven shSometime too hot the eye of heaven shinesines, , And often is his gold complexion dAnd often is his gold complexion dimmedimmed,,And every fair from fair sometime declAnd every fair from fair sometime declinesines,,By chance, or nature's changing course untrBy chance, or nature's changing course untrimmedimmed::But thy eternal summer shall not fBut thy eternal summer shall not fadeade, , Nor lose possession of that fair thou Nor lose possession of that fair thou ow'stow'st,,Nor shall death brag thou wander'st in his shNor shall death brag thou wander'st in his shadeade, , When in eternal lines to time thou grWhen in eternal lines to time thou grow'stow'st,,

So long as men can breathe, or eyes can sSo long as men can breathe, or eyes can seeee, , So long lives this, and this gives life to thSo long lives this, and this gives life to theeee..

ABABCdCDEFEFGG

Thought structureThought structure

Octave/ sestetOctave/ sestetThe octave, eight lines, presents a The octave, eight lines, presents a

situation or idea.situation or idea.The sestet (sextet), six lines, responds, to The sestet (sextet), six lines, responds, to

the situation or idea in the octave.the situation or idea in the octave.

Quatrain, quatrain, quatrain, coupletQuatrain, quatrain, quatrain, coupletEach quatrain, four lines, describes and Each quatrain, four lines, describes and

idea or situation which leads to a conclusion or idea or situation which leads to a conclusion or response in the couplet, two lines.response in the couplet, two lines.

The SonnetThe Sonnet

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 SonnetThe Sonnet

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 SonnetThe Sonnet

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.

The SonnetThe Sonnet

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.

The SonnetThe Sonnet

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

Sonnet 18Sonnet 18

Shall I compare thee to a summer's day?Shall I compare thee to a summer's day?Thou art more lovely and more temperate:Thou art more lovely and more temperate:Rough windsRough winds do shake the darling buds of May, do shake the darling buds of May,And And summer's summer's lease hath all too short a datelease hath all too short a date::Sometime Sometime too hottoo hot the eye of heaven shines, the eye of heaven shines,And often is And often is his gold complexion dimmedhis gold complexion dimmed,,And And every fair from fair sometime declinesevery fair from fair sometime declines,,By chance, or nature's changing course untrimmed:By chance, or nature's changing course untrimmed:

ButBut thy thy eternaleternal summer summer shall not fade,shall not fade,Nor lose possession of that fair thou ow'stNor lose possession of that fair thou ow'st,,Nor shall death brag thou wander'st in his shade,Nor shall death brag thou wander'st in his shade,When in When in eternaleternal lines to time thou lines to time thou grow'stgrow'st,,

So long as men can breathe, or eyes can see,So long as men can breathe, or eyes can see,So long lives this, and this So long lives this, and this gives life to theegives life to thee..

The octave describes the ways in which the summer’s day is inferior to the beloved.

The sestet describes the ways in which the beloved is superior to the summer’s day.

Sonnet 29Sonnet 29When When in in disgracedisgrace with fortune with fortune and men's eyes and men's eyesI I all aloneall alone beweepbeweep my my outcastoutcast state, state,And And troubletrouble deafdeaf heaven with my heaven with my bootlessbootless criescries,,And look upon myself, and And look upon myself, and cursecurse my fate, my fate,Wishing meWishing me like to one more rich in hope, 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 With what I most enjoy contented leastcontented least;;

YetYet in these thoughts my self almost despising, in these thoughts my self almost despising,Haply Haply I think on theeI think on thee, and then my state,, and then my state,Like to the Like to the larklark at break of day at break of day arisingarisingFrom sullen earth, From sullen earth, singssings hymnshymns at heaven's gate; at heaven's gate; For For thy thy sweet lovesweet love remembered such remembered such wealthwealth brings brings

That That then I scorn to change my state with kingsthen I scorn to change my state with kings. .

The diction of the octave implies the speaker’s self-pity and depression.

The sestet’s diction, in conrast, is joyful.

Sonnet 73Sonnet 73

That time of year thou mayst in me beholdWhen yellow leaves, or none, or few, do hangUpon those boughs which shake against the cold,Bare ruined choirs, where late the sweet birds sang.In me thou see'st the twilight of such dayAs after sunset fadeth in the west;Which by and by black night doth take away,Death's second self, that seals up all in rest. In me thou see'st the glowing of such fire,That on the ashes of his youth doth lie,As the death-bed, whereon it must expire,Consum'd with that which it was nourish'd by.This thou perceiv'st, which makes thy love more strong,To love that well, which thou must leave ere long.

1st Quatrain

Year - Fall

2nd Quatrain Day - Twilight

3rd QuatrainFire - Coals

“This” is ll.1-12