The Sonnet --- 有關14 行詩的介紹．中英文

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天下文壇 > 英文詩苑 > The Sonnet --- 有關14 行詩的介紹．中英文

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The Sonnet --- 有關14 行詩的介紹．中英文 回覆數: 8 點數: 13423

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The Sonnet --- 有關14 行詩的介紹．中英文
摘自天下文壇畢泠 2005-00-20 10:56
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:arrow: 這是有關14 行詩的中英文介紹，您可參考！
本主題之第四篇貼文有英國14行詩論壇連結，強力推薦點選瀏覽。 :P

1) 本版置頂主題貼文有中英文的說明，請點選主題，並查詢 Sonnet 主題即可瀏覽。

英文詩歌寫作須知 -- 準備中 under construction
http://www.yuhsia.net/php/viewtopic.php?t=4061

英國文學及修辭學簡介：Glossary of Literary & Rhetorical
http://www.yuhsia.net/php/viewtopic.php?t=4042

28 種英文詩歌型態簡介及範例．A-Z．詩人詩集．
http://www.yuhsia.net/php/viewtopic.php?t=4158

英文詩歌常識 -- 中文解說 --﹝輕輕﹞提供
http://www.yuhsia.net/php/viewtopic.php?t=4151

2) 此主題將以14行詩為主，提供相關資訊，本欄為第一篇中文貼文，歡迎貼文分享您的收藏或心得。
中英文均可。

此連結為原文載處。
http://www.words-pub.idv.tw/cgi-bin/bbs/view.cgi?forum=91&topic=23

14行資料-- 來源：陋室無痕

較為經典的當屬"莎士比亞"作品集內可以常見
以下釋稍微的解釋
轉載自"網路辭典內"

源出普羅旺斯語Sonet。起初泛指中世紀流行於民間﹑用歌唱和樂器伴奏的短小詩歌。

義大利中世紀的「西西里詩派」詩人雅科波．達．連蒂尼(生年不詳﹐約卒於1246至1250年間)﹐是第一個採用這種詩歌形式﹐並使之具有嚴謹的格律的文人作者。十四行詩有固定的格式。它由兩部分組成﹐前一部分是兩節四行詩﹐後一部分是兩節三行詩﹐共十四行。每行詩句通常是11個音節﹐抑揚格。每行詩的末尾押腳韻﹐其排列方式是﹕ABAB﹐ABAB﹐CDE﹐CDE。它和歌謠﹑抒情短歌同為當時義大利抒情詩中流行的體裁。

13世紀末﹐十四行詩體的運用由抒情詩領域擴及敘事詩﹑教諭詩﹑政治詩﹑諷刺詩﹐押韻格式也逐漸變化為﹕ABBA﹐ABBA﹐CDC﹐DCD﹐或ABBA﹐ABBA﹐CDC﹐EDE。

文藝復興時期詩人彼特拉克是這種詩體的主要代表。他一生寫了 300多首十四行詩。他斷承「西西里詩派」﹑「溫柔的新體詩派」的傳統﹐以浪漫的激情﹐優美的音韻﹐豐富多采的色調﹐表現人物變化而曲折的感情﹐注進了新時代的人文主義思想。彼特拉克的十四行詩在藝術上更加完美﹐成為其他國家詩人後來競相模仿的重要詩體﹐對歐洲詩歌的發展產生了重大影響。因此﹐義大利體的十四行詩又稱彼特拉克體。

十四行詩在義大利文藝復興時期繁榮興盛。詩人梅迪契﹑米開朗琪羅﹑博亞爾多﹑塔索等﹐都是優秀的十四行詩作者。其後﹐它又成為「馬裡諾詩派」﹑「阿卡迪亞詩派」喜愛的體裁。早期浪漫主義詩人破除傳統的框框﹐追求自由不拘的詩歌形式﹐十四行詩一度被冷落﹐但19世紀下半葉又得到復興﹐卡爾杜齊﹑鄧南遮等均留下了佳作。20世紀繼續流行於詩歌創作。

在義大利文藝復興文學的影響下﹐十四行詩傳入法﹑英﹑德﹑西諸國﹐並適應各國語言的特點﹐產生了不同的變體。馬羅首先把它移植到法國。「里昂派」詩人拉貝﹐「七星詩派」詩人龍薩﹑杜倍雷的作品﹐使十四行詩成為16世紀法國的重要詩歌形式。
16世紀初葉﹐薩裡﹑華埃特把十四行詩介紹到英國。詩的格式演變為三節四行詩和一副對句﹐押韻的方式是ABAB﹐CDCD﹐EFEF﹐GG。在這種類型之外又產生了其他變體。16世紀末﹐十四行詩成為英國最流行的詩體之一﹐產生了像錫德尼﹑斯賓塞這樣著名的十四行詩人。莎士比亞進一步豐富和發展了這一詩體。他的十四行詩體(又稱伊麗莎白體)﹐也由三節四行詩和一副對句組成﹐以形像生動﹑結構巧妙﹑音樂性強﹑起承轉合自如為特色﹐常常在最後一副對句中概括內容﹐點明主題﹐表達出新興資產階級的理想和情懷。以後﹐彌爾頓﹑華茲華斯﹑雪萊﹑濟慈等也以寫作優秀的十四行詩享有聲譽。

十四行詩傳入德國較晚。奧皮茨在《德國詩論》(1624)裡最先倡導十四行詩﹐製定詩歌格律的規則﹐對德國詩歌的發展產生了作用。歌德和浪漫派詩人對這一形式也很重視。

逍遙子～癡

把陋室兄的一段話剪過來貼..
其格式就是[color=blue:eaa6d7b97a]三行四段((附加兩行)) 或者是四行三段((附加兩行)) [/color:eaa6d7b97a]就會變成這兩種格式[color=blue:eaa6d7b97a]3.3.3.3.2[/color:eaa6d7b97a] 或者是[color=blue:eaa6d7b97a]4.4.4.2[/color:eaa6d7b97a]........ [color=blue:eaa6d7b97a]其內容3(起)3(承)3(轉)3(結)2(附註或用以加強) 又或者4(起)4(承)4(轉)2(結)[/color:eaa6d7b97a] 反正怎ㄇ加減寫法都是[color=blue:eaa6d7b97a]14行[/color:eaa6d7b97a] 。

:arrow:
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14 行詩之介紹與相關資訊 -- 英文網站

第 2 樓

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14 行詩之介紹與相關資訊 -- 英文網站
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:arrow: 因篇幅所限，請自行開啟連結瀏覽，儲存所需資訊。

14 行詩之介紹
http://www.cc.nctu.edu.tw/~shuc/Presentations/Chapter%201.files/Sonnet.files/frame.htm#slide0010.htm

B2b. Shakespearean(English) Sonnet
wBy the content~

Form 1
Quatrain 1~3: Stating the questions
Rhymed couplet: epigrammatic close

Form 2
Quatrain 1,2: Stating the questions
Quatrain 3 : Another view to the question
Rhymed couplet: epigrammatic close

14 行詩之介紹
http://www.utm.edu/departments/english/everett/sonnet.htm

Craft of Poem 的 14 行詩介紹
http://www.uni.edu/~gotera/CraftOfPoetry/sonnet.html

英國 14 行詩及詩人介紹 -- 依字母排列
Sonnet Poets--Alphabetical Listing
http://www.sonnets.org/alpha.htm

英國 14 行詩中心 Sonnets Central
http://www.sonnets.org/

莎士比亞的 14 行詩欣賞
http://www.albionmich.com/valentine.html

Sonnet 116 Let me not to marriage of true minds admit impediments
Sonnet 18 "Shall I compare thee to a summer's day?"
Sonnet 29 "When in disgrace with fortune and men's eyes"
Sonnet 130 "My mistress' eyes are nothing like the sun"
Sonnet 55 "Not marble nor the gilded monuments"
Sonnet 105 "Let not my love be called idolatry"
Sonnet 1 "From fairest creatures we desire increase"
Sonnet 63 "Against my love shall be as I am now"
Sonnet 60 "Like as the waves make towards the pebbled shore"
Sonnet 116 "Let me not to marriage of true minds admit impediments"

:arrow:
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輕輕提供的 14 行詩簡介

第 3 樓

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輕輕提供的 14 行詩簡介
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[b:b19a1a79d9][size=18:b19a1a79d9]輕輕[/size:b19a1a79d9]新詩散文版主[/b:b19a1a79d9] 發表於: 星期日十二月 19, 2004 1:20 am 文章主題:

淺談輕輕所知的[b:b19a1a79d9]十四行詩(Sonnet)[/b:b19a1a79d9]。

十四行詩有十四行，分為兩小節，第一行至第十二行為第一小節，抒發感觸，最後兩行為第二小節，總結此詩。

英文押韻是：a-b-a-b, c-d-c-d, e-f-e-f, g-g.
義大利文押韻是：a-b-b-a, a-b-b-a, c-d-e-c, d-e. 後半部也可為 c-d-c-d, c-d.

每一行必須是十個音節﹝十個有聲母音﹞，不論字數多少。現代十四行詩大部份已不押韻，但仍然維持每行十個音節。

兩母音緊臨，但分屬不同字，只算一音節，因發音時是拖在一起的。如 the expense 只算兩音節，即 the ex 為一音，pense 為一音。

韻可分為：End Rhymes ﹝尾韻﹞，Last Syllable Rhymes﹝最後音節韻﹞， Double Rhymes﹝雙韻﹞等等……

另，查同韻、同義字網站 http://www.rhymezone.com/
此網站細分尾韻與最後音節韻 http://www.rhymer.com

:arrow:
...............................................................................................................................

[b:b19a1a79d9]莫名詩詞創作版主[/b:b19a1a79d9] 發表於: 星期日十二月 19, 2004 10:59 pm 文章主題:

法國sonnet還有4+4+3+3句式的﹐馬拉美(Mallarme)即好此式。
_________________
春晨杜甫,夏夜巴哈.

:arrow:
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英國 14 行詩論壇 -- Sonnet Board

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英國 14 行詩論壇 -- Sonnet Board
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[color=blue:074139bf45][size=24:074139bf45]強力推薦！[/size:074139bf45]

這是英國 14行詩論壇，有數以萬計的貼文，交流創作、學習或教學經驗，歡迎點閱。

有空時多點閱，對自己英文的流暢及改善幫助很大，除了學習詩的賞析或是創作以外，可以學習如何提出問題，與人交流。

有興趣者，也可加入討論，練習自己的英文寫作，要不，也可純粹欣賞，作個旁聽生，聆聽各家之鳴，也是樂事。

http://www.sonnets.org/ --- [size=24:074139bf45]14 行詩論壇[/size:074139bf45]

Thou, Thee, and Archaic Grammar --- 文法學習
http://alt-usage-english.org/pronoun_paradigms.html

An Introduction to the Sonnet Board -- 初學者入門介紹
http://www.sonnets.org/guidelines.htm

http://p197.ezboard.com/fthesonnetboardfrm5.showMessage?topicID=2.topic

"Honest criticism is hard to take, particularly from a relative,
a friend, an acquaintance, or a stranger."
--Franklin P. Jones

Some Sonnet Writing Advice from the Sonnet Board 創作之建議
http://www.sonnets.org/advice.htm

Sonnet Writing 14 行詩創作之交流，評詩，修改 .... 新手練筆
http://p197.ezboard.com/fthesonnetboardsonnetwriting

Sonnet Reading -- 讀 14 行詩心得分享
http://p197.ezboard.com/fthesonnetboardsonnetreading

Sonnet Reading -- 朗誦 14 行詩
http://p197.ezboard.com/fthesonnetboardsonnetreading.showMessage?topicID=361.topic

Barcelona
www.alanwickes.org/New_Folder2/barca.mp3

Nude Descending a Staircase
www.alanwickes.org/New_Fo...ircase.mp3

Naxos
www.alanwickes.org/New_Folder2/naxos.mp3

Notes from an Italian Journey
www.alanwickes.org/New_Folder2/notes.mp3

www.ramblingrose.com/poet...ligent.mp3

Not Sonnet --- 非14 行詩的創作交流．新手試劍
http://p197.ezboard.com/fthesonnetboardnotsonnets

The Sonnet Board -- 14 行詩論壇
http://p197.ezboard.com/bthesonnetboard

[color=blue]幾萬篇以上，不同的主題討論。[/color:074139bf45]
http://p197.ezboard.com/bthesonnetboard

An Introduction to the Sonnet Board
Sonnet Writing
Sonnet Reading
Not Sonnets
Sonnet Classroom
Moderators Forum
Sonnet Writing Archive
Sonnet Writing Archive 2
Sonnet Writing Archive 3
Sonnet Writing Archive 4
Sonnet Writing Archive 5
Sonnet Writing Archive 6

14行詩教室
http://p197.ezboard.com/fthesonnetboardfrm12

:arrow:
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14行詩寫作之建議--Some Sonnet Writing Advice from the Sonnet

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14行詩寫作之建議--Some Sonnet Writing Advice from the Sonnet
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[color=blue:151bb2df32][b:151bb2df32]Some Sonnet Writing Advice from the Sonnet Board
14行詩寫作之建議[/b:151bb2df32][/color:151bb2df32]

Below are some comments from visitors to the Sonnet Board that may be of help to those writing their first sonnets. Good luck to you, and don't be discouraged--usually, several revisions will be needed before you find what you are after (it will be well worth the effort). See an example of one sonnet that benefited greatly from revision.

David Keith Johnson on the basics: Writing in iambic pentameter
Jason on writing a Shakespearian sonnet (in iambic pentameter)
Remco van der Zwaag: a demonstration sonnet on writing in iambic pentameter
Mike Alexander on writing an English or Italian sonnet

......................................................................................................................................

[b:151bb2df32]From David Keith Johnson [/b:151bb2df32]

. . . begin by walking. The "foot" of the meter really has to do with how you use your feet. So you go "step-STEP" (that is, fall a little harder on the second step). Do this five times and stop. That is what one line FEELS like, and this is about feelings, not definitions.

Now, what to write about? You wouldn't be the first to write about writing sonnets. But don't try too hard. Start by getting the rhythm, and you will get this by stepping.

For example, you might just start walking:

[b:151bb2df32](step-STEP, step-STEP, step-STEP, step-STEP, step-STEP)[/b:151bb2df32]
Do it enough times, words might come into your head, maybe on their own. Give them TIME. Here is a silly example.

[color=blue:151bb2df32]"Some GOO-fy GUY said I should TAKE a WALK (now pause)
if I would WRITE a GOO-fy SON-net VERSE (pause again)
but I don't UN-der-STAND his CRAZ-y TALK (now you're going)
and WALK-ing ON-ly SEEMS to MAKE it WORSE" (almost half-way)[/color:151bb2df32]

You will do much better than this silly stuff, but relax and play. It is about pleasure. As a rather older guy who has been wacking at them since I was fourteen or so, I can tell you it is worth it. Good luck. Remember to take TIME.

................................................................................................................................

[b:151bb2df32]From Jason[/b:151bb2df32]

. . . For your purposes, the English or Shakespearian sonnet would be the easiest to write:

It consists of 14 lines of iambic pentameter (an iamb is a "foot" consisting of 2 syllables, 1 unaccented and 1 accented):

when I / con SID / er HOW / my LIFE / is SPENT
that TIME / of YEAR / thou MAYST / in ME / be HOLD

or

when I / have FEARS / that I / may CEASE / to BE
Some people will insist that only the number of accents (5) and not the total number of syllables per line (10) matters, and there is some justification for that view:

ah, DO / NOT, when / my HEART / hath 'SCAP'D / this SOR / row (11 syllables)
The accented syllables can, obviously, be moved about with some degree of variation within the line, but must always remain clearly musical:

WHEN in / dis GRACE / with FOR / tune and / MEN'S EYES
The 14 lines are divided into 3 quatrains (4-line stanzas) and a final couplet by different groups of rhyming words:

a hold
b hang
a cold
b sang

c day
d west
c way
d rest

e fire
f lie
e expire
f by

g strong
g long

Each quatrain develops a complete idea; sometimes the same idea is developed in 3 different ways in the 3 quatrains, sometimes the quatrains develop 3 different but closely related ideas. The closing couplet is a conclusion based on the material contained in the quatrains.

Shakespeare's Sonnet 73 is a good example of all these points:

That time of year thou mayst in me behold,
When yellow leaves, or none, or few do hang
Upon those boughs which shake against the cold,
Bare ruined choirs, where late the sweet birds sang.
In me thou seest the twilight of such day,
As 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 seest the glowing of such fire,
That on the ashes of his youth doth lie,
As the death-bed, whereon it must expire,
Consumed with that which it was nourished by.
This thou perceiv'st, which makes thy love more strong,
To love that well, which thou must leave ere long.

....................................................................................................................................

[b:151bb2df32]From Remco van der Zwaag [/b:151bb2df32]

The five foot meter: what is the big deal?
Ten syllables per line is what it takes,
"ta TUM" times five, that is the beat it makes.
Just write a few and you will get the feel.

This penta-thing, it has its own appeal,
Especially if from its swing you break
Away. Slight change will subtly make your bake
More tasty, spicy: practice it with zeal!

And somehow to the sonnet it belongs,
It gives a bronzen sound to all these songs
That suits the thoughts of pensive poets well.

Of this pentameter be not afraid.
Just practice it, and you will get your grade
And when you do, well then, come back and tell!

........................................................................................................................................

[b:151bb2df32]From Mike Alexander [/b:151bb2df32]

. . . I'm sure you've looked up enough of the definition of "sonnet" to know that the word refers to a form, in particular a fourteen line poem with a rhyme "scheme." What particular scheme or pattern of rhyming you use is up for discussion, & thereby hangs a lot of the debate that goes on between sonnetizers, but the most common schemes are most commonly known as the English or the Italian.

Following one of these or the other variations is half the battle.

To put it briefly, the English is made of three quatrains, each with their own rhymes, capped off with a couplet (in "scansion" form: abab cdcd efef gg).

The Italian is made of an octave & a sestet (one possible scan: abbaabba cdecde). Obviously you base your decision as to which of the forms to use on the rhetorical strengths & weaknesses of whatever it is you personally wish to express.

That's how such a seemingly rigid system ends up turning out so many pieces of such individual personality.

You've got to figure in your own strengths & weaknesses. For instance, if you have trouble holding together anything for more than four lines, stick to the English sonnet.

If you think in terms of a Q & A, or a primary point followed by a secondary point, & you need more than a quatrain, go for the Italian. Pick your rhyme words according to whatever scheme you think will work for you.

Hint: Don't try an Italian sonnet with "orange" at the end of the first line; there aren't enough rhymes for you to make it to the eighth line.

Hint: The ninth line hook, where you move either from the second quatrain to the third or from the octave to the sestet, is crucial, possibily more so than the first & last line. This transition is called a "volta." It's the leap in Robert Bly terms.

Ready for the other half of the battle?

You've got to maintain a regular meter in every line of the poem, most commonly in iambic pentameter.

That's ten syllables with a kick on the even syllables.

It's okay, you can count on your fingers. Readers judge the quality on a sonnet by a combination of elements -- how well you write in meter, how deftly you've crossed the volta, how solidly you close up at the end, how inventive & appropriate your rhymes are.

Those are the best technical set-ups I can give you. Just go with what works for you, & know that it can be hit & miss for a while at first. . .Good luck.

:arrow:
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14行詩簡介

[b:c35e87a3c6]Sonnet[/b:c35e87a3c6]
Syllabus
[b:c35e87a3c6]Craft of Poetry Home[/b:c35e87a3c6]

http://www.uni.edu/~gotera/CraftOfPoetry/sonnet.html

Sonnets were first written in Italian and were traditionally love poems. Though the sonnet is a form that can be experimented with, it has remained true to its original length of fourteen lines and its Anglicized meter of iambic pentameter. Petrarch developed the sonnet to one of its highest levels during early Renaisannce Italy, but it wasn't translated into English until the sixteenth century. From there, Shakespeare made the sonnet famous in England and others followed his lead.

The sonnet can be thematically divided into two sections: the first presents the theme, raises an issue or doubt, and the second part answers the question, resolves the problem, or drives home the poem's point. This change in the poem is called the turn and helps move forward the emotional action of the poem quickly, as fourteen lines can become too short too fast.

Most sonnets are one of two kinds:

[b:c35e87a3c6]Italian (Petrarchan)[/b:c35e87a3c6]- this sonnet is split into two parts, an octave and a sestet. The octave is composed of two envelope quatrains rhyming "abba abba" (Italian octave). The sestet's rhyme pattern varies, though it is most often either "cde cde" (Italian sestet) or "cdc dcd" (Sicilian sestet).

The turn occurs at the end of the octave and is developed and closed in the sestet. Over the years, the Italian sonnet has been the most favored type of sonnet.

Donald Justice- "Sonnet: The Poet at Seven"

And on the porch, across the upturned chair,
The boy would spread a dingy counterpane
Against the length and majesty of the rain,
And on all fours crawl under it like a bear

To lick his wounds in secret, in his lair;
And afterwards, in the windy yard again,
One hand cocked back, release his paper plane
Frail as a mayfly to the faithless air.

And summer evenings he would whirl around
Faster and faster till the drunken ground
Rose up to meet him; sometimes he would squat
Among the bent weeds of the vacant lot,

Waiting for dusk and someone dear to come
And whip him down the street, but gently home.

Notice the turn at line 9, "And summer evenings . . ." and how it develops and closes the poem by the last line. Justice changed the form a bit, rhyming the sestet "ccd dee," or viewed as couplets "cc dd ee."

English (Shakespearian)- this contains 3 Sicilian quatrains and one heroic couplet at the end, with an "abab cdcd efef gg" rhyme scheme.

The turn comes at or near line 13, making the ending couplet quick and dramatic. Not many modern writers have taken to writing the Shakesperean sonnet. e. e. cummings, not known to the general public for sonnet writing, supplies us with a Shakespearean sonnet example:

)when what hugs stopping earth than silent is
more silent than more than much more is or
total sun oceaning than any this
tear jumping from each most least eye of star

and without was if minus and shall be
immeasurable happenless unnow
shuts more than open could that every tree
or than all his life more death begins to grow

end's ending then these dolls of joy and grief
these recent memories of future dream
these perhaps who have lost their shadows if
which did not do the losing spectres mine

until out of merely not nothing comes
only one snowflake(and we speak our names

Here are two other almost common sonnet types:

[b:c35e87a3c6]Spenserian[/b:c35e87a3c6]- this sonnet is very similar to the Shakespearian sonnet in form, though its rhyme scheme is slightly different. It is written with 3 Sicilian quatrains and an ending heroic couplet. It rhymes "abab bcbc cdcd ee", such that the rhyme scheme interlocks each of the quatrains, much like the terza rima is made of interlocking triplets.

[b:c35e87a3c6]Envelope sonnet[/b:c35e87a3c6]- this is made with two envelope quatrains and a sestet: "abba cddc efgefg (efefef)". It is almost exactly like the Italian sonnet except the quatrains use different rhymes (notice both quatrains in the Italian rhyme "abba").

[b:c35e87a3c6]How To[/b:c35e87a3c6]

If you have a grip on blank verse and can write a couplet, tercet, and quatrain, then the sonnet--either kind--will come easy to you. Both types are composed in three parts, so the sonnet can be simplified, in a way, by being broken down. It's like making an outline.

The turn, I find, 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 of any kind, let the structure guide you, not vise 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.

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 expressable.

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 your a better understanding of the emotions that drive the writing of the poem.

Online Examples and Resources:

Sonnets
Sonnet Central (WOW!!!) ..... http://www.sonnets.org/
-- Damon McLaughlin

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[b:0ad5698cb8]A Guide to the Sonnet[/b:0ad5698cb8]
http://www.utm.edu/departments/english/everett/sonnet.htm

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

The Italian, or Petrarchan sonnet, named after Francesco Petrarch (1304-1374), the Italian poet, was introduced into English poetry in the early 16th century by Sir Thomas Wyatt (1503-1542). Its fourteen lines break into [color=blue:0ad5698cb8]an octave (or octet), which usually rhymes abbaabba[/color:0ad5698cb8], but which may sometimes be [color=blue:0ad5698cb8]abbacddc or even (rarely) abababab[/color:0ad5698cb8]; and [color=blue:0ad5698cb8]a sestet[/color:0ad5698cb8], which may rhyme [color=blue:0ad5698cb8]xyzxyz[/color:0ad5698cb8] or [color=blue:0ad5698cb8]xyxyxy[/color:0ad5698cb8], or any of the multiple variations possible using only two or three rhyme-sounds.

The English or [color=blue:0ad5698cb8]Shakespearean sonnet[/color:0ad5698cb8], developed first by Henry Howard, Earl of Surrey (1517-1547), consists of three quatrains and a couplet--that is, it [color=blue:0ad5698cb8]rhymes abab cdcd efef gg[/color:0ad5698cb8].

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

The Italian form, in some ways the simpler of the two, usually projects and develops a subject in the octave, then executes a turn at the beginning of the sestet, which means that the sestet must in some way release the tension built up in the octave. (Example: see Wyatt's "Farewell Love and all thy laws for ever.")

The Shakespearean sonnet has a wider range of possibilities. One pattern introduces an idea in the first quatrain, complicates it in the second, complicates it still further in the third, and resolves the whole thing in the final epigrammatic couplet. (Example: see Shakespeare's Sonnet 138.)

You can see how this form would attract writers of great technical skill who are fascinated with intellectual puzzles and intrigued by the complexity of human emotions, which become especially tangled when it comes to dealing with the [color=blue:0ad5698cb8]sonnet's traditional subjects, love and faith. [/color:0ad5698cb8]

Although the two types of sonnet may seem quite different, in actual practice they are frequently hard to tell apart. Both forms break between lines eight and nine; the octave in the Italian frequently breaks into two quatrains, like the English; and its sestet frequently ends in a final couplet.

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

[color=blue:0ad5698cb8]It behooves the reader to pay close attention to line-end punctuation, especially at lines four, eight, and twelve, and to connective words like and, or, but, as, so, if, then, when, or which at the beginnings of lines (especially lines five, nine, and thirteen). [/color:0ad5698cb8]

For more information on the sonnet, consult your glossary (in the back of your textbook); M.H. Abrams, A Glossary of Literary Terms; Paul Fussell, Poetic Meter and Poetic Form; or The Princeton Encyclopedia of Poetry and Poetics.

Go back to the UTM English page; Go back to Everett's English Page; go back to the English 250 page.
Send comments or suggestions to the author of this page, Glenn Everett.
[email protected]

[b:0ad5698cb8]SONNETS: Farewell Love and all thy laws for ever [/b:0ad5698cb8]

Wyatt Devonshire MS: Original Text Reference.
Publication Date: 1557.
Ed. (text): F. D. Hoeniger; (e-text): I. Lancashire.
Rep. Poetry: 3RP.1.3.

[b:0ad5698cb8]{octave}[/b:0ad5698cb8]

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

{turn; sestet}

Therefore farewell; go trouble younger hearts ------ c
And in me claim no more authority; ---------------- d
With idle youth go use thy property ---------------- d
And thereon spend thy many brittle darts. ---------- c
{and a concluding couplet}
For hitherto though I have lost all my time, --------- e
Me lusteth no lenger rotten boughs to climb. -------- e

[b:0ad5698cb8]Sonnet CXXXVIII[/b:0ad5698cb8]

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

{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]}
Thus vainly thinking that she thinks me young, ----- c
Although she knows my days are past the best, --- d
Simply I credit her false speaking tongue: ---------- c
On both sides thus is simple truth suppress'd. ------ d

{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]}
But wherefore says she not she is unjust? -------- e
And wherefore say not I that I am old? ----------- f
O, love's best habit is in seeming trust, ----------- e
And age in love loves not to have years told: ---- f

{Third quatrain: [so why don't we both fess up? because love depends upon trust and upon youth]}
Therefore I lie with her and she with me, -------- g
And in our faults by lies we flatter'd be. ----------- g

{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.
.............................................................................................................................................

[b:0ad5698cb8]Credits and Copyright[/b:0ad5698cb8]

Together with the editors, the Department of English (University of Toronto), and the University of Toronto Press, the following individuals share copyright for the work that went into this edition:
Screen Design (Electronic Edition):
Sian Meikle (University of Toronto Library)
Scanning:
Sharine Leung (Centre for Computing in the Humanities)

Send comments or suggestions to the author of this page, Glenn Everett. [email protected]

...........................................................................................................................

http://www.albionmich.com/valentine.html

[b:0ad5698cb8]Shakespeare Sonnet 116[/b:0ad5698cb8]
[b:0ad5698cb8]Let me not to the marriage of true minds[/b:0ad5698cb8]
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O no! it is an ever-fixed mark
That looks on tempests and is never shaken;
It is the star to every wandering bark,
Whose worth's unknown, although his height be taken.
Love's not Time's fool, though rosy lips and cheeks
Within his bending sickle's compass come:
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
If this be error and upon me proved,
I never writ, nor no man ever loved.

[b:0ad5698cb8]William Shakespeare [/b:0ad5698cb8]

(1564 - 1616)

[b:0ad5698cb8]More Shakespeare Love Sonnets [/b:0ad5698cb8] :arrow:
http://www.albionmich.com/valentine.html

Sonnet 18 "Shall I compare thee to a summer's day?"
Sonnet 29 "When in disgrace with fortune and men's eyes"
Sonnet 130 "My mistress' eyes are nothing like the sun"
Sonnet 55 "Not marble nor the gilded monuments"
Sonnet 105 "Let not my love be called idolatry"
Sonnet 1 "From fairest creatures we desire increase"
Sonnet 63 "Against my love shall be as I am now"
Sonnet 60 "Like as the waves make towards the pebbled shore"
Sonnet 116 "Let me not to marriage of true minds admit impediments"

..................................................................................................................................

More informations on Sonnet --

http://www.cc.nctu.edu.tw/~shuc/Presentations/Chapter%201.files/Sonnet.files/frame.htm#slide0010.htm
Sonnet introduction

http://www.sonnets.org/ Sonnet Central -- 14行詩論壇

:arrow:
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http://www.utm.edu/departments/english/everett/sonnet.htm

A [b:da4fb961bc]Guide to the Sonnet[/b:da4fb961bc]

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

The Italian, or Petrarchan sonnet, named after Francesco Petrarch (1304-1374), the Italian poet, was introduced into English poetry in the early 16th century by Sir Thomas Wyatt (1503-1542). Its fourteen lines break into [color=blue:da4fb961bc]an octave (or octet), which usually rhymes abbaabba[/color:da4fb961bc], but which may sometimes be [color=blue:da4fb961bc]abbacddc or even (rarely) abababab[/color:da4fb961bc]; and [color=blue:da4fb961bc]a sestet[/color:da4fb961bc], which may rhyme [color=blue:da4fb961bc]xyzxyz[/color:da4fb961bc] or [color=blue:da4fb961bc]xyxyxy[/color:da4fb961bc], or any of the multiple variations possible using only two or three rhyme-sounds.

The English or [color=blue:da4fb961bc]Shakespearean sonnet[/color:da4fb961bc], developed first by Henry Howard, Earl of Surrey (1517-1547), consists of three quatrains and a couplet--that is, it [color=blue:da4fb961bc]rhymes abab cdcd efef gg[/color:da4fb961bc].

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

The Italian form, in some ways the simpler of the two, usually projects and develops a subject in the octave, then executes a turn at the beginning of the sestet, which means that the sestet must in some way release the tension built up in the octave. (Example: see Wyatt's "Farewell Love and all thy laws for ever.")

The Shakespearean sonnet has a wider range of possibilities. One pattern introduces an idea in the first quatrain, complicates it in the second, complicates it still further in the third, and resolves the whole thing in the final epigrammatic couplet. (Example: see Shakespeare's Sonnet 138.)

You can see how this form would attract writers of great technical skill who are fascinated with intellectual puzzles and intrigued by the complexity of human emotions, which become especially tangled when it comes to dealing with the [color=blue:da4fb961bc]sonnet's traditional subjects, love and faith. [/color:da4fb961bc]

Although the two types of sonnet may seem quite different, in actual practice they are frequently hard to tell apart. Both forms break between lines eight and nine; the octave in the Italian frequently breaks into two quatrains, like the English; and its sestet frequently ends in a final couplet.

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

[color=blue:da4fb961bc]It behooves the reader to pay close attention to line-end punctuation, especially at lines four, eight, and twelve, and to connective words like and, or, but, as, so, if, then, when, or which at the beginnings of lines (especially lines five, nine, and thirteen). [/color:da4fb961bc]

For more information on the sonnet, consult your glossary (in the back of your textbook); M.H. Abrams, A Glossary of Literary Terms; Paul Fussell, Poetic Meter and Poetic Form; or The Princeton Encyclopedia of Poetry and Poetics.

Go back to the UTM English page; Go back to Everett's English Page; go back to the English 250 page.
Send comments or suggestions to the author of this page, Glenn Everett.
[email protected]

[b:da4fb961bc]SONNETS: Farewell Love and all thy laws for ever [/b:da4fb961bc]

Wyatt Devonshire MS: Original Text Reference.
Publication Date: 1557.
Ed. (text): F. D. Hoeniger; (e-text): I. Lancashire.
Rep. Poetry: 3RP.1.3.

[b:da4fb961bc]{octave}[/b:da4fb961bc]

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

{turn; sestet}

Therefore farewell; go trouble younger hearts ------ c
And in me claim no more authority; ---------------- d
With idle youth go use thy property ---------------- d
And thereon spend thy many brittle darts. ---------- c
{and a concluding couplet}
For hitherto though I have lost all my time, --------- e
Me lusteth no lenger rotten boughs to climb. -------- e

[b:da4fb961bc]Sonnet CXXXVIII[/b:da4fb961bc]

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

{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]}
Thus vainly thinking that she thinks me young, ----- c
Although she knows my days are past the best, --- d
Simply I credit her false speaking tongue: ---------- c
On both sides thus is simple truth suppress'd. ------ d

{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]}
But wherefore says she not she is unjust? -------- e
And wherefore say not I that I am old? ----------- f
O, love's best habit is in seeming trust, ----------- e
And age in love loves not to have years told: ---- f

{Third quatrain: [so why don't we both fess up? because love depends upon trust and upon youth]}
Therefore I lie with her and she with me, -------- g
And in our faults by lies we flatter'd be. ----------- g

{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.
.............................................................................................................................................

[b:da4fb961bc]Credits and Copyright[/b:da4fb961bc]

Together with the editors, the Department of English (University of Toronto), and the University of Toronto Press, the following individuals share copyright for the work that went into this edition:
Screen Design (Electronic Edition):
Sian Meikle (University of Toronto Library)
Scanning:
Sharine Leung (Centre for Computing in the Humanities)

Send comments or suggestions to the author of this page, Glenn Everett. [email protected]

...........................................................................................................................

http://www.albionmich.com/valentine.html

[b:da4fb961bc]Shakespeare Sonnet 116[/b:da4fb961bc]
[b:da4fb961bc]Let me not to the marriage of true minds[/b:da4fb961bc]
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O no! it is an ever-fixed mark
That looks on tempests and is never shaken;
It is the star to every wandering bark,
Whose worth's unknown, although his height be taken.
Love's not Time's fool, though rosy lips and cheeks
Within his bending sickle's compass come:
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
If this be error and upon me proved,
I never writ, nor no man ever loved.

[b:da4fb961bc]William Shakespeare [/b:da4fb961bc]

(1564 - 1616)

[b:da4fb961bc]More Shakespeare Love Sonnets [/b:da4fb961bc] :arrow:
http://www.albionmich.com/valentine.html

Sonnet 18 "Shall I compare thee to a summer's day?"
Sonnet 29 "When in disgrace with fortune and men's eyes"
Sonnet 130 "My mistress' eyes are nothing like the sun"
Sonnet 55 "Not marble nor the gilded monuments"
Sonnet 105 "Let not my love be called idolatry"
Sonnet 1 "From fairest creatures we desire increase"
Sonnet 63 "Against my love shall be as I am now"
Sonnet 60 "Like as the waves make towards the pebbled shore"
Sonnet 116 "Let me not to marriage of true minds admit impediments"

..................................................................................................................................

More informations on Sonnet --

http://www.cc.nctu.edu.tw/~shuc/Presentations/Chapter%201.files/Sonnet.files/frame.htm#slide0010.htm
Sonnet introduction

http://www.sonnets.org/ Sonnet Central -- 14行詩論壇

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14行詩之基本類型 --- Basic Sonnet Forms

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14行詩之基本類型 --- Basic Sonnet Forms
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14行詩之基本類型

[b:7140b68561]Basic Sonnet Forms[/b:7140b68561]
Nelson Miller
From the Cayuse Press Writers Exchange Board

http://www.sonnets.org/basicforms.htm

A sonnet is fundamentally a dialectical construct which allows the poet to examine the nature and ramifications of two usually contrastive ideas, emotions, states of mind, beliefs, actions, events, images, etc., by juxtaposing the two against each other, and possibly resolving or just revealing the tensions created and operative between the two.

O. K., so much for the fancy language. Basically, in a sonnet, you show two related but differing things to the reader in order to communicate something about them. Each of the three major types of sonnets accomplishes this in a somewhat different way.

There are, of course, other types of sonnets, as well, but I'll stick for now to just the basic three (Italian, Spenserian, English), with a brief look at some non-standard sonnets.

[b:7140b68561]I. The Italian (or Petrarchan) Sonnet:[/b:7140b68561]

The basic meter of all sonnets in English is iambic pentameter (basic information on iambic pentameter), although there have been a few tetrameter and even hexameter sonnets, as well.

The Italian sonnet is divided into two sections by two different groups of rhyming sounds. The first 8 lines is called the octave and rhymes:

a b b a a b b a
The remaining 6 lines is called the sestet and can have either two or three rhyming sounds, arranged in a variety of ways:

c d c d c d
c d d c d c
c d e c d e
c d e c e d
c d c e d c

The exact pattern of sestet rhymes (unlike the octave pattern) is flexible. In strict practice, the one thing that is to be avoided in the sestet is ending with a couplet (dd or ee), as this was never permitted in Italy, and Petrarch himself (supposedly) never used a couplet ending; in actual practice, sestets are sometimes ended with couplets (Sidney's "Sonnet LXXI given below is an example of such a terminal couplet in an Italian sonnet).

The point here is that the poem is divided into two sections by the two differing rhyme groups. In accordance with the principle (which supposedly applies to all rhymed poetry but often doesn't), a change from one rhyme group to another signifies a change in subject matter.

This change occurs at the beginning of L9 in the Italian sonnet and is called the volta, or "turn"; the turn is an essential element of the sonnet form, perhaps the essential element. It is at the volta that the second idea is introduced, as in this sonnet by Wordsworth:

"London, 1802"

Milton! thou shouldst be living at this hour:
England hath need of thee: she is a fen
Of stagnant waters: altar, sword, and pen,
Fireside, the heroic wealth of hall and bower,
Have forfeited their ancient English dower
Of inward happiness. We are selfish men;
Oh! raise us up, return to us again;
And give us manners, virtue, freedom, power.
Thy soul was like a Star, and dwelt apart;
Thou hadst a voice whose sound was like the sea:
Pure as the naked heavens, majestic, free,
So didst thou travel on life's common way,
In cheerful godliness; and yet thy heart
The lowliest duties on herself did lay.
Here, the octave develops the idea of the decline and corruption of the English race, while the sestet opposes to that loss the qualities Milton possessed which the race now desperately needs.

A very skillful poet can manipulate the placement of the volta for dramatic effect, although this is difficult to do well. An extreme example is this sonnet by Sir Philip Sidney, which delays the volta all the way to L 14:

"Sonnet LXXI"

Who will in fairest book of Nature know
How Virtue may best lodged in Beauty be,
Let him but learn of Love to read in thee,
Stella, those fair lines, which true goodness show.
There shall he find all vices' overthrow,
Not by rude force, but sweetest sovereignty
Of reason, from whose light those night-birds fly;
That inward sun in thine eyes shineth so.
And not content to be Perfection's heir
Thyself, dost strive all minds that way to move,
Who mark in thee what is in thee most fair.
So while thy beauty draws the heart to love,
As fast thy Virtue bends that love to good.

"But, ah," Desire still cries, "give me some food."
Here, in giving 13 lines to arguing why Reason makes clear to him that following Virtue is the course he should take, he seems to be heavily biassing the argument in Virtue's favor. But the volta powerfully undercuts the arguments of Reason in favor of Virtue by revealing that Desire isn't amenable to Reason.

There are a number of variations which evolved over time to make it easier to write Italian sonnets in English. Most common is a change in the octave rhyming pattern from a b b a a b b a to a b b a a c c a, eliminating the need for two groups of 4 rhymes, something not always easy to come up with in English which is a rhyme-poor language. Wordsworth uses that pattern in the following sonnet, along with a terminal couplet:

"Scorn Not the Sonnet"

Scorn not the Sonnet; Critic, you have frowned,
Mindless of its just honours; with this key
Shakespeare unlocked his heart; the melody
Of this small lute gave ease to Petrarch's wound;
A thousand times this pipe did Tasso sound;
With it Camoens soothed an exile's grief;
The Sonnet glittered a gay myrtle leaf
Amid the cypress wtih which Dante crowned
His visionary brow: a glow-worm lamp,
It cheered mild Spenser, called from Faery-land
To struggle through dark ways; and when a damp
Fell round the path of Milton, in his hand
The Thing became a trumpet; whence he blew
Soul-animating strains--alas, too few!

Another variation on the Italian form is this one, by Tennyson's older brother Charles Tennyson-Turner, who wrote 342 sonnets, many in variant forms. Here, Turner uses an a b b a c d c d e f f e f e pattern, with the volta delayed until the middle of L9:

"Missing the Meteors"

A hint of rain--a touch of lazy doubt--
Sent me to bedward on that prime of nights,
When the air met and burst the aerolites,
Making the men stare and the children shout:
Why did no beam from all that rout and rush
Of darting meteors, pierce my drowsed head?
Strike on the portals of my sleep? and flush
My spirit through mine eyelids, in the stead
Of that poor vapid dream? My soul was pained,
My very soul, to have slept while others woke,
While little children their delight outspoke,
And in their eyes' small chambers entertained
Far notions of the Kosmos! I mistook
The purpose of that night--it had not rained.

[b:7140b68561]II. The Spenserian Sonnet:[/b:7140b68561]

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

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

The three quatrains then develop three distinct but closely related ideas, with a different idea (or commentary) in the couplet. Interestingly, Spenser often begins L9 of his sonnets with "But" or "Yet," indicating a volta exactly where it would occur in the Italian sonnet; however, if one looks closely, one often finds that the "turn" here really isn't one at all, that the actual turn occurs where the rhyme pattern changes, with the couplet, thus giving a 12 and 2 line pattern very different from the Italian 8 and 6 line pattern (actual volta marked by italics):

"Sonnet LIV"
Of this World's theatre in which we stay,
My love like the Spectator idly sits,
Beholding me, that all the pageants play,
Disguising diversely my troubled wits.
Sometimes I joy when glad occasion fits,
And mask in mirth like to a Comedy;
Soon after when my joy to sorrow flits,
I wail and make my woes a Tragedy.
Yet she, beholding me with constant eye,
Delights not in my mirth nor rues my smart;
But when I laugh, she mocks: and when I cry
She laughs and hardens evermore her heart.
What then can move her? If nor mirth nor moan,
She is no woman, but a senseless stone.

[b:7140b68561]III. The English (or Shakespearian) Sonnet:[/b:7140b68561]

The English sonnet has the simplest and most flexible pattern of all sonnets, consisting of 3 quatrains of alternating rhyme and a couplet:

a b a b
c b c d
e f e f
g g

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

Not only is the English sonnet the easiest in terms of its rhyme scheme, calling for only pairs of rhyming words rather than groups of 4, but it is the most flexible in terms of the placement of the volta. Shakespeare often places the "turn," as in the Italian, at L9:

"Sonnet XXIX"

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

Equally, Shakespeare can delay the volta to the final couplet, as in this sonnet where each quatrain develops a metaphor describing the aging of the speaker, while the couplet then states the consequence--"You better love me now because soon I won't be here":

"Sonnet LXXIII"

That time of year thou mayst in me behold,
When yellow leaves, or none, or few do hang
Upon those boughs which shake against the cold,
Bare ruined choirs, where late the sweet birds sang.
In me thou seest the twilight of such day,
As 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 seest the glowing of such fire,
That on the ashes of his youth doth lie,
As the deathbed, whereon it must expire,
Consumed by that which it was nourished by.
This thou perceivest, which makes thy love more strong,
To love that well, which thou must leave ere long.

[b:7140b68561]IV. The Indefinables[/b:7140b68561]

There are, of course, some sonnets that don't fit any clear recognizable pattern but still certainly function as sonnets. Shelley's "Ozymandias" belongs to this category. It's rhyming pattern of a b a b a c d c e d e f e f is unique; clearly, however, there is a volta in L9 exactly as in an Italian sonnet:

"Ozymandias"

I met a traveller from an antique land
Who said: Two vast and trunkless legs of stone
Stand in the desert . . . Near them, on the sand,
Half sunk, a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command
Tell that its sculptor well those passions read
Which yet survive, (stamped on these lifeless things,)
The hand that mocked them and the heart that fed:
And on the pedestal these words appear:
"My name is Ozymandias, king of kings:
Look on my works, ye Mighty, and despair!"
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare
The lone and level sands stretch far away.

Frederick Goddard Tuckerman wrote sonnets with free abandon and with virtually no regard for any kind of pattern at all, his rhymes after the first few lines falling seemingly at random, as in this sonnet from his "Sonnets, First Series," which rhymes a b b a b c a b a d e c e d, with a volta at L10:

"Sonnet XXVIII"

Not the round natural world, not the deep mind,
The reconcilement holds: the blue abyss
Collects it not; our arrows sink amiss
And but in Him may we our import find.
The agony to know, the grief, the bliss
Of toil, is vain and vain: clots of the sod
Gathered in heat and haste and flung behind
To blind ourselves and others, what but this
Still grasping dust and sowing toward the wind?
No more thy meaning seek, thine anguish plead,
But leave straining thought and stammering word,
Across the barren azure pass to God:
Shooting the void in silence like a bird,
A bird that shuts his wings for better speed.

One wonders if the "sod"/"God" rhyme, being six lines apart, actually works, if the reader's ear can pick it up across that distance. Still, the poem has the dialectical structure that a sonnet is supposed to have, so there is justification for in fact considering it one.

[b:7140b68561]V. Links to Various Sonnet Sequences[/b:7140b68561]

In addition to the sonnets and sequences available at Sonnet Central, there are several included in the Poets' Corner archive, listed below.

www.geocities.com/Athens/...2012/poems

William Shakespeare, Sonnets: www.geocities.com/~spanou...net01.html

Edmund Spenser, Amoretti: www.geocities.com/~spanou...nser1.html

Sir Philip Sidney, Astrophil and Stella: www.geocities.com/~spanou...ney01.html

Samuel Daniel, Delia: www.geocities.com/~spanou...iel02.html

Michael Drayton, Idea: www.geocities.com/~spanou...yton2.html

John Donne, Holy Sonnets: www.geocities.com/~spanou...nne02.html

Elizabeth Barrett Browning, Sonnets from the Portuguese: www.geocities.com/~spanou...ebb01.html

Willaim Lisle Bowles, Fourteen Sonnets: www.geocities.com/~spanou...les01.html

Two "sonnet calendars":

Helen Hunt Jackson: www.geocities.com/~spanou...02.html#20

John Payne: www.geocities.com/~spanou...e02.html#3

[b:7140b68561]A few early 20th Century sonnets:[/b:7140b68561]

Wilfred Owen, "Anthem for Doomed Youth": www.geocities.com/~spanou...n01.html#3

William Carlos Williams, "The Uses of Poetry": www.geocities.com/~spanou...m2.html#10

William Carlos Williams, "On a Proposed Trip South": www.geocities.com/~spanou...m2.html#11

Ezra Pound, "A Virginal": www.geocities.com/~spanou...d01.html#6

Elinor Wylie, "Wild Peaches: A Four-Sonnet Cycle": www.geocities.com/~spanou...e01.html#3

Edna St. Vincent Millay, "Only until this cigarette is ended": www.geocities.com/~spanou...01.html#20

Claude McKay, "If We Must Die": www.geocities.com/~spanou...03.html#45

Claude McKay, "The Harlem Dancer": www.geocities.com/~spanou...02.html#35

Claude McKay, "The Lynching": www.geocities.com/~spanou...03.html#43

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