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Write your name on the top of the essayWrite your name on the top of the essay• Assign scoreAssign score

• Include justification that can help them!Include justification that can help them! Make minimal comments in margins if necessaryMake minimal comments in margins if necessary Constructive criticism onlyConstructive criticism only

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Poetry TermsPoetry Terms

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

How to Read Literature Like a ProfessorHow to Read Literature Like a Professor What did Foster have to say about What did Foster have to say about

sonnets?sonnets? “…“…blessedly common, has been written in blessedly common, has been written in

every era since the English Renaissance, and every era since the English Renaissance, and remains very popular with poets and readers remains very popular with poets and readers today” (Foster 22).today” (Foster 22).

““It has a look” (23).It has a look” (23).• After noticing the geometry of a poem (square)- After noticing the geometry of a poem (square)-

count the linescount the lines ““No other poem is so versatile, so ubiquitous, No other poem is so versatile, so ubiquitous,

so various, so agreeably short as the sonnet” so various, so agreeably short as the sonnet” (23).(23).

The SonnetThe Sonnet A sonnet is a fourteen-line poem in iambic pentameter A sonnet is a fourteen-line poem in iambic pentameter

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

The geometry of the poem is a square because “most The geometry of the poem is a square because “most lines are going to have ten syllables [due to iambic lines are going to have ten syllables [due to iambic pentameter] and the others will be very close to ten. pentameter] and the others will be very close to ten. And ten syllables of English are about as long as And ten syllables of English are about as long as fourteen lines are high: square” (Foster 23).fourteen lines are high: square” (Foster 23).

The SonnetThe Sonnet

The The Italian,Italian, or or PetrarchanPetrarchan sonnet, named after sonnet, named after Francesco Petrarch Francesco Petrarch (1304-1374), the Italian (1304-1374), the Italian poet, was poet, was introducedintroduced into English poetry in the into English poetry in the early 16th century by early 16th century by Sir Thomas Wyatt Sir Thomas Wyatt (1503-(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 Howarddeveloped first by Henry Howard, Earl , Earl of Surrey (1517-1547), of Surrey (1517-1547), consists of three consists of three quatrains and a coupletquatrains and a couplet--that is, it --that is, it rhymes rhymes abab cdcd efef ggabab cdcd efef gg. .

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, want to say. In other words, the poet is using the poet is using the structure of the poem as part of the 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.

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 issue , raises an issue

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

The SonnetThe Sonnet

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

““Farewell Love and all thy laws for everFarewell 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 The Shakespearean sonnet Shakespearean sonnet has a wider 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 or ““When My Love Swears When My Love Swears that She is Made of Truththat 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

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Sonnet 60Sonnet 60

Get in a group of 2 people.Get in a group of 2 people. You have a sonnet that has been cut into You have a sonnet that has been cut into

14 pieces.14 pieces. Put the lines for this sonnet back together. Put the lines for this sonnet back together.

Use your knowledge of the expected rhyme scheme Use your knowledge of the expected rhyme scheme and the progression of thoughtand the progression of thought

When your group is finished, you must When your group is finished, you must read your sonnet and explain your read your sonnet and explain your rationale for the line arrangement.rationale for the line arrangement.

Sonnet 60Sonnet 60Like as the waves make towards the pebbled shore,

So do our minutes hasten to their end;

Each changing place with that which goes before,

In sequent toil all forwards do contend.

Nativity, once in the main of light,

Crawls to maturity, wherewith being crown'd,

Crooked eclipses 'gainst his glory fight,

And Time that gave doth now his gift confound.

Time doth transfix the flourish set on youth

And delves the parallels in beauty's brow,

Feeds on the rarities of nature's truth,

And nothing stands but for his scythe to mow:

And yet to times in hope, my verse shall stand

Praising thy worth, despite his cruel hand.

Sonnet ComparisonSonnet Comparison

Petrarch’s Sonnet 90Petrarch’s Sonnet 90 Sonnet 130 by ShakespeareSonnet 130 by Shakespeare

The SonnetThe Sonnet Now itNow it’’s your turn. Write an original sonnet, following the 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 A sonnet can be helpful when writing about emotions that emotions that

are difficult to articulate. are difficult to articulate. It is a It is a short poemshort poem, so there is only , so there is only so much room to work in. As well, the turn forces the poet to so 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 The turn usually takes care of itself somehowturn usually takes care of itself somehow, and the , and the more the writer worries about it, the more difficult it will be to 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 reach. As with any poem, let the structure guide you, not vice versa. If you allow the feel and movement of the sonnet to 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 take the poem to the next line, the turn will happen and the sonnet will be well on its way to being complete. sonnet will be well on its way to being complete.