The Sonnet.ppt

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The Sonnet

Contributions by Glenn Everett, University of Tennessee at Contributions by Glenn Everett, University of Tennessee at

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History of the Sonnet

 _The_The_sonnet_sonnet_{is one of several forms of poetry}_{is one of several forms of poetry} originating in Europe.

originating in Europe.

 The term “_{The term “}sonnet_sonnet” derives from the Occitan _{” derives from the Occitan} word

word sonetsonet and the Italian word and the Italian word sonettosonetto, both , both meaning “little song” or “little sound.”

meaning “little song” or “little sound.”

 By the thirteenth century, it had come to _{By the thirteenth century, it had come to}

signify a poem of fourteen lines that follows a

strict rhyme and specific structure.

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The 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. rhyme scheme.

 Other strict, short poetic forms occur in Other strict, short poetic forms occur in

English poetry (the sestina, the villanelle, and English poetry (the sestina, the villanelle, and

the haiku, for example), but none has been the haiku, for example), but none has been

used so successfully by so many different used so successfully by so many different

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The Italian (Petrarchan) Sonnet

 Named after Francesco Petrarch (1304-1374), _{Named after Francesco Petrarch (1304-1374),}

the Italian poet the Italian poet

 Was introduced into English poetry in the early _{Was introduced into English poetry in the early}

16th century by Sir Thomas Wyatt (1503-1542). 16th century by Sir Thomas Wyatt (1503-1542).

 Its fourteen lines break into an _{Its fourteen lines break into an}octave_octave, which _{, which}

usually rhymes

usually rhymes abbaabbaabbaabba, but which may , but which may sometimes be

sometimes be abbacddcabbacddc or even (rarely) or even (rarely)

abababab

abababab; and a ; and a sestetsestet, which may rhyme , which may rhyme

xyzxyz

xyzxyz 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

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The English (Shakespearean) Sonnet

 First developed by Henry Howard, Earl of _{First developed by Henry Howard, Earl of}

Surrey (1517-1547) Surrey (1517-1547)

 Consists of three quatrains and a couplet--_{Consists of three quatrains and a}

couplet--that is, it rhymes

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The 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. take conscious note.

 _{And when poets have chosen to work within}_{And when poets have chosen to work within}

such a strict form, that form and its strictures such a strict form, that form and its strictures

make up part of what they want to say. make up part of what they want to say.

 In other words, the poet is using the structure of the In other words, the poet is using the structure of the poem as part of the language act: we will find the poem as part of the language act: we will find the "meaning" not only in the words, but partly in their "meaning" not only in the words, but partly in their pattern as well.

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The 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 theme_{the theme}, raises an _{, raises an}

issue or doubt, issue or doubt,

 The second part _{The second part}answers the question_{answers 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}the_the turn _turn

or

or the shift the shift and helps move forward the and helps move forward the emotional action of the poem quickly.

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The Sonnet

 The Italian (Petrarchan) form, in some _{The Italian (Petrarchan) form, in some}

ways the simpler of the two, usually ways the simpler of the two, usually

projects and develops a subject in the projects and develops a subject in the

octave, then executes a turn at the octave, then executes a turn at the

beginning of the sestet, so that the sestet beginning of the sestet, so that the sestet can in some way release the tension built can in some way release the tension built

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“

“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

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The 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

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“

“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” When

When 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

Thus

Thus 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 wherefore

But 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

Therefore

Therefore 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

{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

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The 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

which

which at the beginnings of lines (especially at the beginnings of lines (especially lines five, nine, and thirteen).

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Review

 The _TheItalian,_Italian, or _orPetrarchan_Petrarchan sonnet:_sonnet:

• _{Fourteen lines}_{Fourteen lines}

• Iambic pentameter_{Iambic pentameter}

• _{Consists of an}_{Consists of an}_octet_octet_{(eight lines) of two envelope}_{(eight lines) of two envelope} quatrains

quatrains

 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)

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Review

 The _TheEnglish_English or _orShakespearean_{Shakespearean} sonnet:_sonnet:

• _{Fourteen lines}_{Fourteen lines}

• Iambic pentameter_{Iambic pentameter}

• Consists of _{Consists of}three Sicilian quatrainsthree Sicilian quatrains (four (four lines)

lines)

• And a _{And a}heroicheroic coupletcouplet (two lines) (two lines)

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The 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.

 _{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

much room to work in. As well, the turn forces the poet to

express what may not be normally expressible. Hopefully,

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

better understanding of the emotions that drive the writing of

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.

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

poem to the next line, the turn will happen and the sonnet will

be well on its way to being complete.