1. The Sonnets The most important poetry form you will ever need to know!

2. The Sonnet A sonnet is a fourteen-line poem in iambic pentameter with a carefully patterned rhyme scheme. A sonnet is a fourteen-line poem in iambic pentameter with a carefully patterned rhyme scheme. The sonnet is the most frequently used form of poetry. The sonnet is the most frequently used form of poetry. The most popular form is the Shakespearean Sonnet, but there are other kinds such as the Italian/Petrarch or the Spenserian Sonnet. The most popular form is the Shakespearean Sonnet, but there are other kinds such as the Italian/Petrarch or the Spenserian Sonnet.

3. Italian/Petrarch Sonnet 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: 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 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: 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 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

4. Italian/Petrarch Sonnet Simply the poem is divided into two sections by the two differing rhyme groups. Simply 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. 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. 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.

5. 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.

6. Another example {octave} Farewell Love and all thy laws for ever, a Thy baited hooks shall tangle me no more; b 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

7. The Spenserian Sonnet 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: 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

8. Spenserian Sonnet 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. 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. The three quatrains then develop three distinct but closely related ideas, with a different idea (or commentary) in the couplet.

9. Spenserian Sonnet 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. 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.

10. 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. Edmund Spenser (1595)

11. Shakespearean/English Sonnet The English or Shakespearean sonnet, developed first by Henry Howard, Earl of Surrey (1517-1547), consists of three quatrains and a couplet--that is, it rhymes abab cdcd efef gg. As in the Spenserian, each quatrain develops a specific idea, but one closely related to the ideas in the other quatrains. The English or Shakespearean sonnet, developed first by Henry Howard, Earl of Surrey (1517-1547), consists of three quatrains and a couplet--that is, it rhymes abab cdcd efef gg. 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. 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.

12. Shakespeare often places the "turn," as in the Italian, at L9: "Sonnet XXIX" When in 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.

13. "Sonnet LXXIII" "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.

14. 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":

15. Why? 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 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.

16. Although the two types of sonnet may seem quite different, in actual practice they are frequently hard to tell apart. 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. 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 effect more characteristic of the Shakespearean form. 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 effect more characteristic of the Shakespearean form. 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). 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).