1. Sonnets

2. A sonnet shows two related, contrasting things or ideas (e.g. life vs. death; youth vs. old age) to communicate something about them (offer a message) 3 Major Types of Sonnets: Italian (Petrarchan) Spenserian (invented by Edmund Spenser) English (Shakespearean; after William Shakespeare)

3. Petrarchan (Italian) Sonnet "London, 1802“ by William Wordsworth 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.

4. Italian (Petrarchan) Sonnet -divided into two sections with two different rhyming patterns: -the first 8 lines is called an octave and rhymes: abba -the remaining 6 lines is called the sestet and rhymes as one of the following: cdcdcdcdecdecdcedc cddcdccdeced The Petrarchan Sonnet never ends in a rhyming couplet!

5. Message of Petrarchan Sonnet -this sonnet is divided into two distinct rhyming patterns (8 lines then 6 lines) Octave –problem stated, situation -the “twist” or change in subject matter (volta)appears in line 9, when the rhyming pattern changes Sestet-Solution or commentary on possible resolve -e.g. in “London 1802” by Wordworth, the octave speaks of the corruption present in England, while the sestet remembers the honorable qualities of Milton that are now lost but needed in England

6. Spenserian Sonnet "Sonnet LIV” by Edmund Spenser 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.

7. Spenserian Sonnet -invented by Edmund Spenser in the TheFaerie Queene with the rhyming pattern: a b a b b c b c c d c d e e -the first three quatrains overlap in rhyme and develop a main idea, while the rhyming couplet at the end gives a different message (final comment) -line 9 often begins with “But” or “Yet” where the Petrarchan and Shakespearian sonnets would normally have the “twist” or “volta”, but there is no change in idea here (Spenser has more of a 12 than 2 line pattern) -Spencer’s Volta appears at line 13 then

8. Shakespearean Sonnet Modified by William Shakespeare Two distinct sections abab cdcd/efef/gg Volta comes before the couplet Sonnets 1-126 seems to be addressed to the Earl of Southampton (a wealthy patron of the arts) Sonnets 127-154 seem to be addressed to a “Dark Lady” or mistress

9. Sonnet 18 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 dimm'd; And every fair from fair sometime declines, By chance or nature's changing course untrimm'd; But thy eternal summer shall not fade Nor lose possession of that fair thou owest; Nor shall Death brag thou wander'st in his shade, When in eternal lines to time thou growest: So long as men can breathe or eyes can see, So long lives this and this gives life to thee.