5.

THE SONNET: FORMS AND THEMES LITERATURE Intro:

IN

BRITISH-AMERICAN

The term "sonnet" derives from the Occitan word sonet and the Italian word sonetto, both meaning "little song" or "little sound". By the thirteenth century, it had come to signify a poem of fourteen lines that follows a strict rhyme scheme and specific structure. The conventions associated with the sonnet have evolved over its history. Italian sonnet: includes two parts first, the octave (two quatrains), which describes a problem, followed by a sestet (two tercets), which gives the resolution to it. The ninth line creates a "turn" or volta (long syntactic pause) which signals the move from proposition to resolution. rhyme scheme: a-b-a-b, a-b-a-b; later, the a-b-b-a, a-b-b-a pattern became the standard for Italian sonnets. For the sestet there were two different possibilities, c-d-e-c-d-e and c-d-c-c-dc. In time, other variants on this rhyming scheme were introduced such as c-d-c-d-c-d. (e.g. John Milton, Thomas Gray, William Wordsworth, Elizabeth Barrett Browning) English sonnet: the form consists of fourteen lines structured as three quatrains and a couplet. The third quatrain generally introduces an unexpected sharp thematic or imagistic "turn" called a volta. The usual rhyme scheme is end-rhymed a-b-a-b, c-d-c-d, e-f-e-f, g-g. (e.g. Thomas Wyatt, William Shakespeare)

1) Medieval and Renaissance English Literature

Origins of the sonnet (outside England) 16-17th century: great variety of new genres and themes forms of passion: as an overwhelming emotion directed to another being forms of poetry that gave shape to these passions: sonnet form & elegy Model: Petrarch and his collection of sonnets 3 characteristics: special verse form theme of love (attitude to love: unrequited, not returned, did not came into being) love object (inaccessible, idealized - both physically & morally, beautiful and virtuous woman) Sonnets in England Petrarchs sonnets arrived in England through translations (sonnets of Petrarch) translators modified almost everything: approach to love, verse form (3 quatrains and a couplet) A) Earthy love in England:

a) Sir Thomas Wyatt: Whoso List to Hunt

"Whoso List To Hunt" by Sir Thomas Wyatt Whoso list to hunt, I know where is an hind, But as for me, hlas, I may no more. The vain travail hath wearied me so sore, I am of them that farthest cometh behind. Yet may I by no means my wearied mind Draw from the deer, but as she fleeth afore Fainting I follow. I leave off therefore, Sithens in a net I seek to hold the wind. Who list her hunt, I put him out of doubt, As well as I may spend his time in vain. And graven with diamonds in letters plain There is written, her fair neck round about: Noli me tangere, for Caesar's I am, And wild for to hold, though I seem tame.

Wyatt: a translator of Petrarch Similarities to Petrarchs in structure same octave (ABBA ABBA) the volta is kept the division is there theres a pause before line 9 clear division in topic Differences to the original sonnet last two lines make up a couplet (pros rm) instead of the alternated rhyme scene before the couplet: CDDC last quatrain + couplet: the deer cannot be caught complete vanity Theme: similar to Petrarchs the Speaker claims that he cannot reach the beloved lady love relation from the distance moves closer at the beginning the deer is far away but at the end she comes so close that the Speaker can read the letters written on her neck (Noli me tangere = Do not touch me) 2

 although the closeness of the deer is intimate the words on her neck cause hopelessness utmost tension Love object: appears in the couplet possessed by someone else (inaccessible) + piece of confession on her neck wild for to hold, though I seem tame distinction between what she seems and reality virtuous, loyal, obedient too wild, not virtuous or loyal difference between appearance and reality it may be taken as a warning to the powerful claimer the love object is not a model of virtue anymore , the male fear of abandonment is also present - tension, dynamism, painful love - gloomy, hopeless atmosphere nature does not appear in any other forms as obstacle - possibility of biographical note: Wyatt loved Anne Boleyn (the deer) - power has its claim Caesar (Henry VIII) wants to possess

b.) William Shakespeare: Sonnet 75 So are you to my thoughts as food to life, Or as sweet-season'd showers are to the ground; And for the peace of you I hold such strife As 'twixt a miser and his wealth is found; Now proud as an enjoyer and anon Doubting the filching age will steal his treasure, Now counting best to be with you alone, Then better'd that the world may see my pleasure; Sometime all full with feasting on your sight And by and by clean starved for a look; Possessing or pursuing no delight, Save what is had or must from you be took. Thus do I pine and surfeit day by day, Or gluttoning on all, or all away.

Form: completely new English sonnet form (Shakespearian sonnet form) (not invented by Shakespeare but he made it famous) Rhyme scheme: ABAB CDCD EFEF GG three quatrains and a couplet carry on an argument summarizes, concludes 3

form a unit explore the love relationship

or introduces a change clear conclusion in this sonnet

Theme/Type of love: oxymorons seeming contradiction in various sets of metaphors: natural imagery (showers fertilizing the ground) food: physical aspect of love is pointed out natural necessity of human beings business: miser, wealth treasure rhyming with pleasure this love is physical (it can be stolen) from line 9: another set of images food to life comes back eating semi-Christian concept: eating much is a sin this love is in association with sin - physical, materialistic attitude not unrequited - dynamism of response requited unrequited (may be enjoyed, may be stolen) Love object: our expectation is a woman but its a man (the Fair Youth) a bit of a modification: this doesnt mean that Shakespeare was homosexual the speaker addresses a man addresser may well be a man, though - Shakespeares sonnets are divided: 1-126 goes to a man 126- for a woman (the Dark Lady) c.) William Shakespeare: 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 damask'd, 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. - 1609 - dedicated to a woman

Structure: Shakespearean/English sonnet two major units: 3 quatrains (theme) + a couplet (conclusion) turn appears between them And yet... - characteristic to the form of English sonnet: all lines: 10 syllables with iambic pentameter ends with a couplet Theme: realism and intimacy at the same time instead of festive, over-gloomy attitude this love exists can smell the lady, can see her breasts the Speaker talks to the lady and listens to her realistic fashion a real woman, any women shes not a goddess the Speaker doesnt want to make her better than what she is turn is needed realistic, almost ironic concept of love accepting the other how she is Love object: we know almost nothing about her only negative things, negative description no inner qualities are described only visual aspect is at stake no morals are mentioned here or virtue accessible object of male desire B) Divine Love in England John Donne: Batter my heart... Batter my heart, three-person'd God, for you As yet but knock, breathe, shine, and seek to mend; That I may rise and stand, o'erthrow me, and bend Your force to break, blow, burn, and make me new. I, like an usurp'd town to'another due, Labor to'admit you, but oh, to no end; Reason, your viceroy in me, me should defend, But is captiv'd, and proves weak or untrue. Yet dearly'I love you, and would be lov'd fain, But am betroth'd unto your enemy; Divorce me,'untie or break that knot again, Take me to you, imprison me, for I, Except you'enthrall me, never shall be free, Nor ever chaste, except you ravish me. Structure: first 2 stanzas: Petrarchan style rhyming (ABBA ABBA) embracing rhyme scene rhyming syllables carried over to the second quatrain pause + structural change Yet demonstrating contrast volta last 2 lines: couplet (before it CDCD) Theme: Quatrains: the first 4 lines addresses God in a form of a prayer in the 2nd stanza theres a complicated town metaphor (the speaker identifies himself with a town which is usurped by Satan) need for intervention of God as far as this love relation goes

this metaphor is part of the Christian tradition St. Augustine: De Civitate Dei (City of God) 17th century mystique: St. Theresa of Aquila The Interior Castle (soul ~ room of the castle, Jesus in the centre here: Satan usurping a place which is not supposed to be his) Sestet: describes the love relationship 3rd stanza + couplet: the soul of the Speaker is married to Satan against his will he wants to divorce and marry God Love object: not a human transcendental love God his love towards Man, he gives freedom to Man troublesome, painful relationship the Speaker cannot do what he wishes very powerful, violent word are used; alliteration: break burn > forceful intervention oxymorons represent the tension and weakness of the Speaker imprison me: freedom & chastity is gained through imprisonment

2) English Literature from Modernism to the Present

Wilfred Owen: Anthem for Doomed Youth: What passing-bells for these who die as cattle? Only the monstrous anger of the guns. Only the stuttering rifles' rapid rattle Can patter out their hasty orisons. No mockeries for them; no prayers nor bells, Nor any voice of mourning save the choirs,-The shrill, demented choirs of wailing shells; And bugles calling for them from sad shires. What candles may be held to speed them all? Not in the hands of boys, but in their eyes Shall shine the holy glimmers of goodbyes. The pallor of girls' brows shall be their pall; Their flowers the tenderness of patient minds, And each slow dusk a drawing-down of blinds. Wilfred Owen: was an English and Welsh poet and soldier, regarded by many as one of the leading poets of the First World War

 his shocking, realistic war poetry on the horrors of trenches and gas warfare was heavily influenced by his friend Siegfried Sassoon ( a writer of satirical anti-war verse during WW I) it employs the traditional form of an Italian (Petrarchan) sonnet, but it uses the rhyme scheme of an English sonnet (a-b-a-b, c-d-c-d, e-f-f-e, g-g) theme: horror of war dedicated to funeral rituals suffered by those families deeply affected by World War I the sorrow of common soldiers in one of the bloodiest battles of the 20th century lament for young soldiers whose lives were unnecessarily lost in World War I octave: full of sounds chaotic (rattle, bells, choirs, shrill, bugles) scenery: Battlefield 1st cacophonic effect is due to the difference of sounds: anger of guns, rattle passing bells, mourning (liturgical, ceremonial) strange mixture of acoustic experience auditory imagination sestet: full of visual components silent vision (candles, eyes) scenery: Churchyard 2nd cacophonic effect is due to the muted sestet: candles, hands, eyes, flowers blindness this blinding makes the vision muted slightness and sightless by the end 2 dooms: for those who die for those who have to live on (they are the real doomed) these two groups cannot meet anymore: they cannot establish a living relationship the outcome of the war can be perceived everything can be lost (sounds, light, objects, human beings)

Conclusion:
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 as a sonnet, 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.