An Introduction to Sonnets

What is a sonnet? Sonnets are poems that meet the following rules: All sonnets are 14 lines long. Sonnets in English are written in iambic pentameter, which means that each line has 10 syllables, alternating in an unstressed/stressed pattern. All sonnets are characterized by a “turn” located at a designated point in the sonnet. Sonnets follow a predetermined rhyme scheme; the rhyme pattern determines if the sonnet is Petrarchan (Italian), Shakespearean, or Spenserian.

History of the Sonnet What tongue can her perfections tell, In whose each part all pens may dwell? Her hair fine threads of finest gold, In curled knots man’s thought to hold: But that her forehead says, “In me A whiter beauty you may see”; Whiter indeed, more white than snow, Which on cold winter’s face doth grow. That doth present those even brows Whose equal line their angles bows, Like to the moon when after change Her horned head abroad doth range; And arches be to heavenly lids, Whose wink each bold attempt forbids. For the black stars those spheres contain, The matchless pair, even praise doth stain. Sir Philip Sidney History of the Sonnet

Giuseppi Archimboldo’s Summer Some poets would go on to play with this idea and take it a ridiculous extreme, while others used it as source for satire: 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. William Shakespeare, Sonnet CXXX Giuseppi Archimboldo’s Summer

The Sonnet The sonnet can be thematically divided into two sections: The first presents the theme, raises an issue or doubt, 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.

The two major sonnet forms: Petrarchan (Italian) A B A Octave (8 lines) A The TURN C D E C Sestet (6 lines) Shakespearean A B C D C 3 quatrains E F The TURN F G Rhyming G Couplet

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

“Farewell Love and all thy laws for ever” 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 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 For hitherto though I have lost all my time, e Me lusteth no longer rotten boughs to climb. e - Wyatt Devonshire (1557)

The Sonnet 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 couplet.

“Sonnet 138” or “When My Love Swears that She is Made of Truth” 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 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 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 Therefore I lie with her and she with me, g And in our faults by lies we flatter'd be. g - 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 Sonnet Petrarchan Rhyme scheme: Octave: (two quatrains) a-b-b-a Sestet: (three options) c-d-e-c-d-e -traditional c-d-c-d-c-d c-d-c-c-d-c Shakespearean Rhyme scheme: Quatrains: a-b-a-b c-d-c-d e-f-e-f Couplet: g-g

The Sonnet 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 sonnet's traditional subjects, love and faith.

The Sonnet 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).

Nothing is ever easy. Sonnet 29 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, Featur'd like him, like him with friends possess'd, Desiring this man's art and that man's scope, With what I most enjoy contented least; Yet in these thoughts myself 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 remember'd such wealth brings That then I scorn to change my state with kings. Note that at times the turn does NOT occur in the traditional spot. Instead of occurring at the normal line 12-13 in this sonnet by Shakespeare, the turn instead occurs between lines 8-9—where you’d normally find the turn for an Italian sonnet.

Sonnet 17 – Pablo Neruda I do not love you as if you were salt-rose, or topaz, or the arrow of carnations the fire shoots off. I love you as certain dark things are to be loved, in secret, between the shadow and the soul. I love you as the plant that never blooms but carries in itself the light of hidden flowers; thanks to your love a certain solid fragrance, risen from the earth, lives darkly in my body. I love you without knowing how, or when, or from where. I love you straightforwardly, without complexities or pride; so I love you because I know no other way in which there is no I or you so intimate that your hand upon my chest is my hand so intimate that when you fall asleep it is my eyes that close

Shall I compare thee to a summer's day Shall I compare thee to a summer's day? (Sonnet 18) by William Shakespeare Shall I compare thee to a summer's day? Thou art more lovely and more temperate. Rough winds do shake the darling buds of May, And summer's lease hath all too short a date. Sometime too hot the eye of heaven shines, And often is his gold complexion dimmed; And every fair from fair sometime declines, By chance, or nature's changing course, untrimmed; But thy eternal summer shall not fade, Nor lose possession of that fair thou ow'st, Nor shall death brag thou wand'rest in his shade, When in eternal lines to Time thou grow'st. So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee.