Sonnets
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This document provides an overview of sonnets, including their origin and structure. It begins by explaining that sonnets are 14-line poems that follow a strict rhyme scheme. It then discusses Petrarch, who is credited with perfecting the early Italian sonnet form in the 14th century. His unrequited love for Laura inspired many of his sonnets. Later, Sir Thomas Wyatt introduced the sonnet form to England after traveling to Italy. Shakespeare then popularized the form in England, modifying the rhyme scheme and adding a couplet to the structure. The document provides examples of sonnets by Petrarch and Shakespeare to illustrate their different forms.
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Thomas Wyatt's poem "Farewell Love" uses the Petrarchan sonnet form to reject love and its controlling ways. The first eight lines (the octave) build tension as the speaker says goodbye to love and its laws forever, finding wisdom instead in Seneca and Plato. The last six lines (the sestet) release this tension by telling love to go trouble younger hearts and use its hooks on them instead of the speaker, who has lost time but no longer desires love's "rotten boughs." The poem employs metaphors, personification, and allusions within a traditional Italian sonnet structure to convey the theme of breaking free from romantic love.
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Henry Howard, Earl of Surrey was one of the founders of English Renaissance poetry in the early 16th century. He introduced important innovations to the sonnet form, including using rhyming quatrains instead of the Italian octave and sestet structure. In his poem "The Soote Season", Surrey describes the signs of spring in nature but contrasts it with his continuing personal sorrow over lost love. Thomas Wyatt also made important contributions by introducing the Petrarchan sonnet to England and being one of the first to emphasize personal feelings in poetry.
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This document provides an overview of sonnets, including their origin and structure. It notes that sonnets are 14-line poems that typically have a strict rhyme scheme. It discusses how the Italian poet Petrarch is credited with perfecting the form in the 14th century. His sonnets were divided into an 8-line octet and 6-line sestet, with the octet presenting an idea and the sestet responding to it. It provides an example sonnet by Petrarch that was later translated by Wyatt to demonstrate the rhyme scheme and structure of a typical Petrarchan sonnet.
Love, that doth reign and live within my thought
The document provides biographical information about Henry Howard, Earl of Surrey, a pioneering English Renaissance poet who helped introduce Italian poetic forms to English poetry, discusses his translation of Petrarch's sonnet 140, and presents teaching materials on analyzing the themes, symbols, and literary devices in Surrey's translation of the sonnet.
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This document provides a guide for writing Shakespearean sonnets. It begins with an introductory quote about the importance of loving the sonnet form. It then presents Shakespeare's Sonnet 73 as an example, analyzing its structure including the four line quatrains that introduce the theme, continue the metaphor, and sometimes include a "volta" or twist, as well as the two line couplet that provides the conclusion. The document guides the reader through brainstorming a topic, choosing a metaphor, and composing their own sonnet line-by-line while maintaining the proper rhyme scheme and iambic pentameter. It concludes by encouraging revision to perfect the newly written sonnet.
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Shakespeare wrote his first batch of sonnets in 1593 at the age of 29. This is because an outbreak of the plague in Europe between 1592 and 1594 resulted in the closure of all London theaters. As there was no demand for plays during this time, Shakespeare began writing poetry and completed his first batch of sonnets.
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This document provides an agenda for a poetry workshop including discussions on poetic forms like sestinas and villanelles. It defines various poetic terms in 3 sentences or less for each. These include definitions of a sestina, villanelle, tercet, elision, personification, and free verse. The document then provides examples of poems written in free verse form with brief analyses of the poetic techniques and conventions used in each. It concludes with tips and guidelines for writing free verse poetry including the use of imagery, formatting, grammatical conventions, and repetition.
Ewrt 30 class 5
This document provides an agenda and information for a poetry workshop. The agenda includes discussions of poetic forms like sestinas and villanelles. It also includes a lecture on free verse poetry and a guided writing exercise for students to write free verse poems. The document defines various poetic terms and provides examples of poems in different forms. It offers guidance on writing free verse poetry without strict meter or rhyme, including the use of imagery, formatting, repetition and other techniques. It concludes with assigning students a poetry project and homework.
Shakespeare sonnets
This document provides an overview of Shakespearean sonnets including definitions of key terms used in analyzing poetry. It discusses the typical structure of a Shakespearean sonnet including the rhyme scheme of ABAB CDCD EFEF GG. As an example, it analyzes Shakespeare's Sonnet 18, breaking it down into its three quatrains and concluding couplet. It also briefly summarizes Sonnet 29. The document encourages writing an original sonnet using the typical structure and provides guidance on how it will be graded.
Shakespeare Sonnets
This document discusses two types of sonnets - Shakespearean and Petrarchan. It describes the key elements of a Shakespearean sonnet, including its 14 lines organized into three quatrains and a couplet, with a turning point of ideas (volta) between lines 8-9 or 12-13. It provides an example sonnet with annotations identifying the quatrains, couplet, rhyme scheme, and iambic pentameter meter. Shakespearean sonnets use rhyming pairs (ABAB CDCD EFEF GG) and consist of lines of ten syllables divided into five iambic feet.
Ewrt 30 class 4
This document contains an agenda and notes for an English writing class. The agenda includes discussing sonnets and villanelles, with lectures on the form and structure of villanelles. There will be a guided writing exercise on writing a villanelle. Free verse will also be introduced. The notes provide details on the conventions and patterns of sonnets and villanelles. Examples of sonnets and villanelles are analyzed. Tips are provided on writing villanelles and free verse poems. Key terms related to poetry such as rhyme, meter, and figures of speech are also defined.
The sonnet
This document discusses various poetic forms, including fixed and semi-fixed forms. It provides details on forms such as the sonnet, haiku, villanelle, and limerick. The sonnet is examined in depth, with explanations of its typical rhyme schemes and examples from Shakespeare. Other sections summarize information on variations of the sonnet form over time and across languages/cultures. The document concludes by mentioning additional fixed and semi-fixed forms covered in further references.
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Sonnets
- 1. Sonnets Or, why we care about rhyme schemes © Ms. Mohlere
- 2. What the heck is a sonnet? A 14 line poem Must have a strict rhyme scheme and structure, although some poems have played with that structure. Comes from the Italian word “sonetto,” meaning “little poem.”
- 3. Petrarch, the great Sonneteer Although he didn’t create the Sonnet, the Italian poet Petrarch, is thought to have perfected its early form. Therefore, early sonnets are called “Petrarchan sonnets.” 1304 – 1374 Born and raised in Tuscany. His father wanted him to train as a lawyer, but he said, “I couldn’t face making a merchandise of my mind.”
- 4. Ok, but who is Laura? Petrarch was a priest for a short period. After he left, he caught sight of a woman named “Laura” who inspired him for years to come. It is thought that they had little to no contact. (She may have been married to another man.) Is she real, or an idealized woman?
- 5. Ok, but I don’t speak Italian Sir Thomas Wyatt traveled to Italy and brought the form back with him. Thanks to him, we have translations of Petrarch’s poetry, in addition to his own sonnets. Wyatt had an interesting role in history, which you’ll learn about shortly.
- 6. The form Two parts, an octet (8 lines) and a sestet (6 lines). The octet presents an argument, a problem, or some kind of initial idea. The sestet responds to it, solves it, or makes a comment on it. Shifts in tone. The two sections are meant to be separate.
- 7. Rhyme Scheme Octet (sometimes called two quatrains): A B B A A B B A Sestet: C D C C D D
- 8. Rima #140 - Translated by Wyatt The long love that in my thought doth harbor, And in mine heart doth keep his residence, Into my face presseth with bold pretense And therein campeth, spreading his banner. She that me learneth to love and suffer And will that my trust and lust's negligence Be reined by reason, shame, and reverence With his hardiness taketh displeasure. Wherewithal unto the heart's forest he fleeth, Leaving his enterprise with pain and cry, And there him hideth, and not appeareth. What may I do, when my master feareth, But in the field with him to live and die? For good is the life ending faithfully.
- 9. And then this guy got his hands on the form…
- 10. Shakespearean Sonnets Shakespearean sonnets are sometimes called “Elizabethan” sonnets. The phrase I have always heard is, Wyatt brought the form to England, and Shakespeare (a generation later), perfected it.
- 11. The form Instead of the octet (8 lines), Shakespearean sonnets use 3 sets of quatrains, or four lines. It adds a couplet at the end. The stanzas often either repeat a theme, or elaborate on that theme. So if you don’t get the first four lines, move on to the next. It might explain it for you. The couplet adds a “twist” or sometimes closure to the poem.
- 13. 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 damasked, 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.
Editor's Notes
- http://www.dorthonion.com/drmcm/english_lit/supplementary/petrarch.html