The sonnet is a form of verse used continuously for more than 750 years now, according to Spiller (1992: ix). It “is probably the longest-lived of all poetic forms, and certainly the longest-lived of all prescribed forms,” according to him (1992: 2). It is a verse form having a prescribed number of lines, namely fourteen, each consisting of ten syllables if written in English (Murfin, Ray 1998: 372-373). The sonnet has to have a division into certain parts and must follow a rhyme scheme, which is allowed to vary in certain ways (compare Oliphant 1932: 136). It is fascinating that such a prescribed verse form is so attractive to poets. It is definitely a challenge to come to a point having fourteen lines of equal length that also have to rhyme in a certain way.
This is a reason to look at the structure of sonnets and its relation to the sonnets’ content in detail. This will be done in the following chapters of this research paper. First, the different types of the sonnet will be explained theoretically. Afterwards, examples of the different types will be given and analyzed. In addition to the common types, there will be a differing example shown. Conclusions are drawn in chapter four.
Table of Contents
1. Introduction
2. Basic Types of the Sonnet
3. The Sonnet in Literary History
3.1 Milton’s “When I Consider ...” as an Example of the Italian Sonnet
3.2 Daniel’s “Fair Is My Love ...” as an Example of the English Sonnet
3.3 Spenser’s “One Day I Wrote Her Name Upon the Strand” as an Example of the Spenserian Sonnet
3.4 Shelley’s “Ozymandias” as an Exception to the Rule
4. Conclusion
5. Bibliography
5.1 Primary Literature
5.2 Secondary Literature
Research Objective and Core Themes
The primary objective of this research paper is to provide a detailed analysis of the structure of various sonnet forms and investigate how these formal constraints relate to the content expressed within the poems. The paper examines the evolution and characteristics of traditional sonnet types to illustrate the interaction between poetic form and thematic development.
- Theoretical explanation of the fundamental sonnet structures.
- Comparative analysis of the Italian, English, and Spenserian sonnet types.
- Investigation into the relationship between rhyme schemes and thematic expression.
- Case studies of representative poems by Milton, Daniel, Spenser, and Shelley.
- Critical evaluation of defining parameters for the sonnet form.
Excerpt from the Book
3.1 Milton’s “When I Consider ...” as an Example of the Italian Sonnet
“When I consider how my light is spent” is the first line of Milton’s English Renaissance sonnet. It is printed in The Sonnet on page 201 (1965). It consists of ten syllables in a iambic pentameter: when-I-con-SI-der-HOW-my-LIGHT-is-SPENT (capitalized syllables resemble stressed syllables) and rhymes with the fourth, fifth and eighth line endings, which are “spent” (1), “bent” (4), “present” (5), and “prevent” (8). This shall be designated as rhyme “a.” The second line, “Ere half my days in this dark world and wide,” follows the same meter and rhymes with line three, six and seven: “[W]ide” (2) rhymes with “hide” (3), “chide” (6), and “denied” (7). This is the second rhyme of the sonnet and shall therefore be designated “b.” All mentioned lines have the same meter.
These first eight lines of the poem build up the octave. The octave is divided into two quatrains by the way the poem is printed: Lines two, three, and four are indented as are lines six, seven, and eight. It follows the typical Italian sonnet rhyme scheme, explained in the preceding chapter, namely "abbaabba." The division into two quatrains is also reflected by its content: The first quatrain explains the theme of the poem. Milton had become totally blind before he wrote this poem. It is possible, therefore, to suggest that the speaker of the poem is Milton himself, talking of his blindness in the first quatrain, mentioning spent light (1), darkness (2), and “death” (3). In the second quatrain the speaker stops talking about himself and poses a question addressing God in line seven, asking if “God exact[s] day-labor, light denied.”
Summary of Chapters
1. Introduction: Outlines the sonnet as a long-lived, prescribed verse form and sets the scope for investigating the relationship between structural form and poetic content.
2. Basic Types of the Sonnet: Defines the core characteristics and historical evolution of the Italian, English, and Spenserian sonnet forms, focusing on their respective rhyme schemes and structural divisions.
3. The Sonnet in Literary History: Provides a practical application of the theory by analyzing specific sonnets to demonstrate how structure influences and reflects the thematic content of the poems.
3.1 Milton’s “When I Consider ...” as an Example of the Italian Sonnet: Examines how the octave and sestet structure of Milton's poem effectively presents and resolves the personal dilemma of blindness.
3.2 Daniel’s “Fair Is My Love ...” as an Example of the English Sonnet: Analyzes the use of three quatrains and a concluding couplet in Daniel’s sonnet to develop a thematic argument.
3.3 Spenser’s “One Day I Wrote Her Name Upon the Strand” as an Example of the Spenserian Sonnet: Explores the unique interlocking rhyme scheme of the Spenserian form and its role in connecting thematic elements across quatrains.
3.4 Shelley’s “Ozymandias” as an Exception to the Rule: Discusses how Shelley’s poem challenges traditional sonnet definitions while still adhering to key parameters like line count and syllable length.
4. Conclusion: Synthesizes the findings to emphasize that while sonnets follow strict prescribed forms, these structures are flexible enough to support diverse thematic expression and experimentation.
5. Bibliography: Lists the primary and secondary sources used for the theoretical and analytical sections of the paper.
Keywords
Sonnet, Italian sonnet, English sonnet, Spenserian sonnet, Petrarchan sonnet, rhyme scheme, iambic pentameter, octave, sestet, quatrain, volta, literary history, poetic form, structure, Ozymandias.
Frequently Asked Questions
What is the fundamental subject of this research paper?
This paper explores the structure of different sonnet types and examines how these prescribed forms are used by poets to convey content and support thematic arguments.
What are the primary sonnet types discussed?
The paper focuses on the three most common sonnet types: the Italian (Petrarchan) sonnet, the English (Shakespearean) sonnet, and the Spenserian sonnet.
What is the central research question?
The research investigates the relationship between the formal structure of a sonnet—such as its rhyme scheme and division—and the thematic development of the poem's content.
Which scientific methodology is applied?
The author uses a comparative and analytical approach, starting with theoretical definitions of sonnet types and then applying these rules to concrete literary examples to test their validity.
What is covered in the main body of the work?
The main body provides theoretical definitions of sonnets, followed by detailed case studies of poems by Milton, Daniel, Spenser, and Shelley to illustrate how these forms operate in practice.
Which keywords characterize this paper?
Key terms include sonnet, rhyme scheme, iambic pentameter, octave, sestet, quatrain, volta, and specific sonnet variations like the Italian, English, and Spenserian forms.
How does the author define the "turn" or "volta" in a sonnet?
The author identifies the volta as a pivotal point in the sonnet's structure, often located after the eighth line, which signals a shift or resolution in the poem’s theme or argument.
Does the paper argue that all sonnets must follow strict rules?
No, the paper uses Shelley’s "Ozymandias" to demonstrate that a poem can still be recognized as a sonnet even if it deviates from conventional rhyme schemes, provided it adheres to other core parameters.
What is the significance of the Spenserian rhyme scheme?
The Spenserian scheme is highlighted for its unique interlocking rhymes between the quatrains, which serves as a structural link between the different parts of the poem.
- Arbeit zitieren
- Helga Mebus (Autor:in), 2005, Types of the sonnet in english and american literature, München, GRIN Verlag, https://www.grin.com/document/93219
