1. “Little song” Mastery of form
The Sonnet
“Little song”
Mastery of form

2. Petrarch ( )
Italian
Unrequited love-Laura (366 poems—mostly sonnets)
Ideal beauty
Octave and sestet
Octave- a b b a/ a b b a
Sestet:
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
Volta/turn

3. Spenser (1552-1599) English A variation of the Italian
Quatrain, couplet
Turn/volta
Abab bcbc cdcd ee.

4. Shakespeare/English sonnet (1564-1616)
Philosophical themes
Mockery of the Italian sonnet
The fair young man, The dark lady, rival poet
Autobiographical or fictional persona
Quatrain, couplet
Abab cdcd efef gg
Turn
Iambic pentameter

5. Petrarch- Sonnet 90
She used to let her golden hair fly free.                     
For the wind to toy and tangle and molest;                  
Her eyes were brighter than the radiant west.              
(Seldom they shine so now.) I used to see                    
 Pity look out of those deep eyes on me.                       
("It was flase pity," you would now protest.)               
I had love's tinder heaped within my breast;                 
What wonder that the flame burnt furiously?                
 She did not walk in any mortal way,                             
But with angelic progress; when she spoke,                  
Unearthly voices sand in unison.                                 
 She seemed divine among the dreary folk                      
Of earth. You say she is not so today?                        
Well, though the bow's unbent, the wound bleeds on

6. How does Hayes utilize the conventions of a sonnet to convey his message? How does he diverge from conventions of a sonnet?
Include quotes from the poem in your analysis.

7. Shakespeare-Sonnet 130
My mistress' eyes are nothing like the sun; Coral is far more red than her lips' red; If snow be white, why then her breasts are dun; If hairs be wires, black wires grow on her head. I have seen roses damask'd, red and white, But no such roses see I in her cheeks; And in some perfumes is there more delight Than in the breath that from my mistress reeks. I love to hear her speak, yet well I know That music hath a far more pleasing sound; I grant I never saw a goddess go; My mistress, when she walks, treads on the ground:    And yet, by heaven, I think my love as rare    As any she belied with false compare.

8. Sonnet 127 In the old age black was not counted fair,
Or if it were, it bore not beauty’s name.
But now is black beauty’s successive heir,
And beauty slandered with a bastard shame.
For since each hand hath put on nature’s pow'r,
Fairing the foul with art’s false borrowed face,
Sweet beauty hath no name, no holy bow'r,
But is profaned, if not lives in disgrace.
Therefore my mistress' eyes are raven black,
Her eyes so suited, and they mourners seem
At such who, not born fair, no beauty lack,
Sland'ring creation with a false esteem.
Yet so they mourn, becoming of their woe,
That every tongue says beauty should look so

9. Sonnet 57
Being your slave what should I do but tend Upon the hours, and times of your desire? I have no precious time at all to spend; Nor services to do, till you require.  Nor dare I chide the world without end hour, Whilst I, my sovereign, watch the clock for you, Nor think the bitterness of absence sour, When you have bid your servant once adieu; Nor dare I question with my jealous thought Where you may be, or your affairs suppose, But, like a sad slave, stay and think of nought Save, where you are, how happy you make those.    So true a fool is love, that in your will,    Though you do anything, he thinks no ill.