This article is about the form of poetry. For other uses, see Sonnet (disambiguation).

A sonnet is a poetic form which originated in Italy; Giacomo Da Lentini is credited with its invention.

The term sonnet is derived from the Italian word sonetto (from Old Provençal sonet a little poem,
from son song, from Latin sonus a sound). By the thirteenth century it signified a poem of fourteen
lines that follows a strict rhyme scheme and specific structure. Conventions associated with the
sonnet have evolved over its history. Writers of sonnets are sometimes called "sonneteers",
although the term can be used derisively.

Petrarchan sonnet
Main article: Petrarchan sonnet

The sonnet was created by Giacomo da Lentini, head of the Sicilian School under Emperor Frederick
II.[1] Guittone d'Arezzo rediscovered it and brought it to Tuscany where he adapted it to his language
when he founded the Neo-Sicilian School (1235–1294). He wrote almost 250 sonnets.[2] Other
Italian poets of the time, including Dante Alighieri (1265–1321) and Guido Cavalcanti (c. 1250–
1300), wrote sonnets, but the most famous early sonneteer was Petrarca (known in English as
Petrarch). Other fine examples were written by Michelangelo.

The structure of a typical Italian sonnet of the time included two parts that together formed a
compact form of "argument". First, the octave (two quatrains), forms the "proposition", which
describes a "problem", or "question", followed by a sestet (two tercets), which proposes a
"resolution". Typically, the ninth line initiates what is called the "turn", or "volta", which signals the
move from proposition to resolution. Even in sonnets that don't strictly follow the
problem/resolution structure, the ninth line still often marks a "turn" by signaling a change in the
tone, mood, or stance of the poem.

Later, the abba, abba pattern became the standard for Italian sonnets. For the sestet there were two
different possibilities: cde, cde and cdc, cdc. In time, other variants on this rhyming scheme were
introduced, such as cdcdcd. Petrarch typically used an abba, abba pattern for the octave, followed
by either cde, cde or cdc, cdc rhymes in the sestet. (The symmetries (abba vs. cdc) of these rhyme
schemes have also been rendered in musical structure in the late 20th century composition Scrivo
in Vento inspired by Petrarch's Sonnet 212, Beato in Sogno.[3])

In English, both the English or Shakespearean sonnet, and the Italian Petrarchan sonnet are
traditionally written in iambic pentameter.

The first known sonnets in English, written by Sir Thomas Wyatt and Henry Howard, Earl of Surrey,
used the Italian, Petrarchan form, as did sonnets by later English poets, including John Milton,
Thomas Gray, William Wordsworth and Elizabeth Barrett Browning. Early twentieth-century
American poet Edna St. Vincent Millay also wrote mostly Petrarchan sonnets.

On His Blindness by Milton, gives a sense of the Petrarchan rhyme scheme:

When I consider how my light is spent (a)

 Ere half my days, in this dark world and wide, (b)
 And that one talent which is death to hide, (b)
 Lodged with me useless, though my soul more bent (a)
To serve therewith my Maker, and present (a)
 My true account, lest he returning chide; (b)
 "Doth God exact day-labor, light denied?" (b)
 I fondly ask; but Patience to prevent (a)
That murmur, soon replies, "God doth not need (c)
 Either man's work or his own gifts; who best (d)
 Bear his mild yoke, they serve him best. His state (e)
Is Kingly. Thousands at his bidding speed (c)
 And post o'er land and ocean without rest; (d)
 They also serve who only stand and wait." (e)

Dante's variation

Most Sonnets in Dante's La Vita Nuova are Petrarchan. Chapter VII gives sonnet "O voi che per la
via", with two sestets (AABAAB AABAAB) and two quatrains (CDDC CDDC), and Ch. VIII, "Morte
villana", with two sestets (AABBBA AABBBA) and two quatrains (CDDC CDDC).

Occitan sonnet

The sole confirmed surviving sonnet in the Occitan language is confidently dated to 1284, and is
conserved only in troubadour manuscript P, an Italian chansonnier of 1310, now XLI.42 in the
Biblioteca Laurenziana in Florence.[4] It was written by Paolo Lanfranchi da Pistoia and is addressed
to Peter III of Aragon. It employs the rhyme scheme a-b-a-b, a-b-a-b, c-d-c-d-c-d. This poem is
historically interesting for its information on north Italian perspectives concerning the War of the
Sicilian Vespers, the conflict between the Angevins and Aragonese for Sicily.[4] Peter III and the
Aragonese cause was popular in northern Italy at the time and Paolo's sonnet is a celebration of his
victory over the Angevins and Capetians in the Aragonese Crusade:
    Valenz Senher, rei dels Aragones
a qi prez es honors tut iorn enansa,
remembre vus, Senher, del Rei franzes
qe vus venc a vezer e laiset Fransa
   Ab dos sos fillz es ab aqel d'Artes;
hanc no fes colp d'espaza ni de lansa
e mainz baros menet de lur paes:
jorn de lur vida said n'auran
menbransa.
   Nostre Senhier faccia a vus
compagna
per qe en ren no vus qal[la] duptar;
tals quida hom qe perda qe
gazaingna.
   Seigner es de la terra e de la mar,
per qe lo Rei Engles e sel d'Espangna
ne varran mais, si.ls vorres aiudar.
   Valiant Lord, king of the Aragonese
to whom honour grows every day closer,
remember, Lord, the French king[5]
that has come to find you and has left France
   With his two sons[6] and that one of Artois;[7]
but they have not dealt a blow with sword or lance
and many barons have left their country:
but a day will come when they will have some to
remember.
   Our Lord make yourself a company
in order that you might fear nothing;
that one who would appear to lose might win.
   Lord of the land and the sea,
as whom the king of England[8] and that of Spain[9]
are not worth as much, if you wish to help them.

An Occitan sonnet, dated to 1321 and assigned to one "William of Almarichi", is found in Jean de
Nostredame and cited in Giovanni Mario Crescimbeni's, Istoria della volgar poesia. It congratulates
Robert of Naples on his recent victory. Its authenticity is dubious. There are also two poorly
regarded sonnets by the Italian Dante de Maiano.

Sonnet in France
Main article: French poetry

In the 16th century, around Ronsard (1524 – 1585)), Joachim du Bellay (1522 – 1560) and Jean
Antoine de Baïf (1532 – 1589), there formed a group of radical young noble poets of the court
(generally known today as La Pléiade, although use of this term is debated), who began writing in,
amongst other forms pf poetry, the Petrarchan sonnet cycle (developed around an amorous
encounter or an idealized woman). The character of La Pléiade literary program was given in Du
Bellay's manifesto, the "Defense and Illustration of the French Language" (1549), which maintained
that French (like the Tuscan of Petrarch and Dante) was a worthy language for literary expression
and which promulgated a program of linguistic and literary production (including the imitation of
Latin and Greek genres) and purification.

By the late 17th century poets on increasingly relied on stanza forms incorporating rhymed
couplets, and by the 18th century fixed-form poems – and, in particular, the sonnet – were largely
avoided. The resulting versification – less constrained by meter and rhyme patterns than
Renaissance poetry – more closely mirrored prose.[10]

The Romantics were responsible for a return to (and sometimes a modification of) many of the
fixed-form poems used during the 15th and 16th centuries, as well as for the creation of new forms.
The sonnet however was little used until the Parnassians brought it back into favor,[11] and the
sonnet would subsequently find its most significant practitioner in Charles Baudelaire (1821 –
1867) . The traditional French sonnet form was however significantly modified by Baudelaire, who
used 32 different forms of sonnet with non-traditional rhyme patterns to great effect in his Les
Fleurs du mal.[12]

Sonnet in England

Renaissance

Henry Howard, Earl of

Surrey, c.1542 by Hans
Holbein

William Shakespeare, in
the famous "Chandos"
portrait. Artist and
authenticity unconfirmed.
National Portrait Gallery
 (UK).

See also: Shakespeare's sonnets

When English sonnets were introduced by Thomas Wyatt (1503 – 1542) in the early 16th century,
his sonnets and those of his contemporary the Earl of Surrey were chiefly translations from the
Italian of Petrarch and the French of Ronsard and others. While Wyatt introduced the sonnet into
English, it was Surrey who developed the rhyme scheme – abab cdcd efef gg – which now
characterizes the English sonnet. Having previously circulated in manuscripts only, both poets'
sonnets were first published in Richard Tottel's Songes and Sonnetts, better known as Tottel's
Miscellany (1557).

It was, however, Sir Philip Sidney's sequence Astrophel and Stella (1591) that started the English
vogue for sonnet sequences. The next two decades saw sonnet sequences by William
Shakespeare, Edmund Spenser, Michael Drayton, Samuel Daniel, Fulke Greville, William Drummond
of Hawthornden, and many others. These sonnets were all essentially inspired by the Petrarchan
tradition, and generally treat of the poet's love for some woman, with the exception of
Shakespeare's sequence of 154 sonnets. The form is often named after Shakespeare, not because
he was the first to write in this form but because he became its most famous practitioner. 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", the volta. In Shakespeare's sonnets,
however, the volta usually comes in the couplet, and usually summarizes the theme of the poem or
introduces a fresh new look at the theme. With only a rare exception, the meter is iambic
pentameter.

This example, Shakespeare's "Sonnet 116", illustrates the form (with some typical variances one
may expect when reading an Elizabethan-age sonnet with modern eyes):

Let me not to the marriage of true minds (a)

Admit impediments, love is not love (b)*
Which alters when it alteration finds, (a)
Or bends with the remover to remove. (b)*
O no, it is an ever fixèd mark (c)**
That looks on tempests and is never shaken; (d)***
It is the star to every wand'ring bark, (c)**
Whose worth's unknown although his height be taken. (d)***
Love's not time's fool, though rosy lips and cheeks (e)
Within his bending sickle's compass come, (f)*
Love alters not with his brief hours and weeks, (e)
But bears it out even to the edge of doom: (f)*
 If this be error and upon me proved, (g)*
I never writ, nor no man ever loved. (g)*

“ * PRONUNCIATION/RHYME: Note changes in pronunciation since

composition.
** PRONUNCIATION/METER: "Fixed" pronounced as two-syllables, "fix-ed".
*** RHYME/METER: Feminine-rhyme-ending, eleven-syllable alternative.

”
The Prologue to Romeo and Juliet is also a sonnet, as is Romeo and Juliet's first exchange in Act
One, Scene Five, lines 104–117, beginning with "If I profane with my unworthiest hand" (104) and
ending with "Then move not while my prayer's effect I take" (117).[13] The Epilogue to Henry V is also
in the form of a sonnet.

Spenserian sonnet

A variant on the English form is the Spenserian sonnet, named after Edmund Spenser (c.1552–
1599), in which the rhyme scheme is abab, bcbc, cdcd, ee. The linked rhymes of his quatrains
suggest the linked rhymes of such Italian forms as terza rima. This example is taken from Amoretti:

Happy ye leaves! whenas those lily hands

Happy ye leaves. whenas those lily hands, (a)

Which hold my life in their dead doing might, (b)
Shall handle you, and hold in love's soft bands, (a)
Like captives trembling at the victor's sight. (b)
And happy lines on which, with starry light, (b)
Those lamping eyes will deign sometimes to look,(c)
And read the sorrows of my dying sprite, (b)
Written with tears in heart's close bleeding book. (c)
And happy rhymes! bathed in the sacred brook (c)
Of Helicon, whence she derived is, (d)
When ye behold that angel's blessed look, (c)
My soul's long lacked food, my heaven's bliss. (d)
Leaves, lines, and rhymes seek her to please alone, (e)
Whom if ye please, I care for other none. (e)

17th century
17th century

In the 17th century, the sonnet was adapted to other purposes, with John Donne and George
Herbert writing religious sonnets (see John Donne's Holy Sonnets), and John Milton using the
sonnet as a general meditative poem. Probably Milton's most famous sonnet is "When I Consider
How My Light is Spent", titled by a later editor "On His Blindness". Both the Shakespearean and
Petrarchan rhyme schemes were popular throughout this period, as well as many variants.

19th century
See also: English Romantic sonnets

The fashion for the sonnet went out with the Restoration, and hardly any sonnets were written
between 1670 and Wordsworth's time. However, sonnets came back strongly with the French
Revolution. Wordsworth himself wrote hundreds of sonnets, of which amongst the best-known are
"Upon Westminster Bridge", "The world is too much with us" and "London, 1802" addressed to
Milton; his sonnets were essentially modelled on Milton's. Keats and Shelley also wrote major
sonnets; Keats's sonnets used formal and rhetorical patterns inspired partly by Shakespeare, and
Shelley innovated radically, creating his own rhyme scheme for the sonnet "Ozymandias". Sonnets
were written throughout the 19th century, but, apart from Elizabeth Barrett Browning's Sonnets from
the Portuguese and the sonnets of Dante Gabriel Rossetti, there were few very successful traditional
sonnets. Modern Love (1862) by George Meredith is a collection of fifty 16-line sonnets about the
failure of his first marriage.

Gerard Manley Hopkins wrote several major sonnets, often in sprung rhythm, such as "The
Windhover", and also several sonnet variants such as the 101⁄2-line curtal sonnet "Pied Beauty" and
the 24-line caudate sonnet "That Nature is a Heraclitean Fire". Hopkin's poetry was, however, not
published until 1918.[14] By the end of the 19th century, the sonnet had been adapted into a general-
purpose form of great flexibility.

In Canada during the last decades of the century, the Confederation Poets and especially Archibald
Lampman were known for their sonnets, which were mainly on pastoral themes.

20th century

This flexibility was extended even further in the 20th century. Among the major poets of the early
Modernist period, Robert Frost, Edna St. Vincent Millay and E. E. Cummings all used the sonnet
regularly. William Butler Yeats wrote the major sonnet "Leda and the Swan", which uses half
rhymes. Wilfred Owen's sonnet "Anthem for Doomed Youth" is another sonnet of the early 20th
century. Spaniard Federico García Lorca also wrote sonnets. W. H. Auden wrote two sonnet
sequences and several other sonnets throughout his career, and widened the range of rhyme-
schemes used considerably. Auden also wrote one of the first unrhymed sonnets in English, "The
Secret Agent" (1928). Robert Lowell wrote five books of unrhymed "American sonnets", including
his Pulitzer Prize-winning volume The Dolphin (1973). Half-rhymed, unrhymed, and even unmetrical
sonnets have been very popular since 1950; perhaps the best works in the genre are Seamus
Heaney's Glanmore Sonnets and Clearances, both of which use half rhymes, and Geoffrey Hill's mid-
period sequence "An Apology for the Revival of Christian Architecture in England". The 1990s saw
something of a formalist revival, however, and several traditional sonnets have been written in the
past decade.

Other modern poets, including Don Paterson, Joan Brossa, Paul Muldoon used the form. Wendy
Cope's poem "Stress" is a sonnet. Elizabeth Bishop's inverted "Sonnet" was one of her last poems.
Ted Berrigan's book, The Sonnets, is an arresting and curious take on the form. Paul Muldoon often
experiments with 14 lines and sonnet rhymes, though without regular sonnet meter. The advent of
the New Formalism movement in the United States has also contributed to contemporary interest in
the sonnet. This includes the invention of the word sonnet, which are fourteen line poems, with one
word per line. Frequently allusive and imagistic, they can also be irreverent and playful. The
Canadian poet Seymour Mayne published a few collections of word sonnets, and is one of the chief
innovators of the form.[15] Contemporary word sonnets combine a variation of styles often
considered to be mutually exclusive to separate genres, as demonstrated in works such as "An Ode
to Mary".[16]

In German

Paulus Melissus (1539 –1602) was the first to use the sonnet and the terza rima in German lyric. In
his lifetime he was recognized as an author fully versed in Latin love poetry.[17]

The Sonnets to Orpheus are a cycle of 55 sonnets written in 1922 by the Bohemian-Austrian poet
Rainer Maria Rilke (1875–1926). It was first published the following year.[18] Rilke, who is "widely
recognized as one of the most lyrically intense German-language poets,"[19] wrote the cycle in a
period of three weeks experiencing what he described a "savage creative storm."[20] Inspired by the
news of the death of Wera Ouckama Knoop (1900–1919), a playmate of Rilke's daughter Ruth, he
dedicated them as a memorial, or Grab-Mal (literally "grave-marker"), to her memory.[21]

Urdu sonnet
In the Indian subcontinent, sonnets have been written in the Assamese, Bengali, Dogri, English,
Gujarati, Hindi, Kashmiri, Malayalam, Manipuri, Marathi, Nepali, Oriya, Sindhi and Urdu languages.[22]
Urdu poets, also influenced by English and other European poets, took to writing sonnets in the Urdu
language rather late.[23] Azmatullah Khan (1887–1923) is believed to have introduced this format to
Urdu literature in the very early part of the 20th century. The other renowned Urdu poets who wrote
sonnets were Akhtar Junagarhi, Akhtar Sheerani, Noon Meem Rashid, Mehr Lal Soni Zia Fatehabadi,
Salaam Machhalishahari and Wazir Agha.[24] This example, a sonnet by Zia Fatehabadi taken from
his collection Meri Tasveer,[25] is in the usual English (Shakespearean) sonnet rhyme-scheme.

"Dubkani"
“ ‫ﮈﺑﮑﯩﯽ‬
Pas e pardaa kisii ne ‫ﻣﺤﻔﻞ ﮐﻮ‬
ِ ‫ﭘﺲ ﭘﺮﺩﮦِﮐﺴﯽ ﻧﮯ ﻣﯿﺮﮮ ﺍﺭﻣﺎﻧﻮﮞ ﮐﯽ‬،
ِ
mere armaanon kii mehfil ‫ ﮐﭽﮫ ﺍﯾﺴﮯ ﻃﻮﺭ ﺳﮯ ﺩﯾﮑﮭﺎ‬،‫ِﺱ ﺍﻧﺪﺍﺯ ﺳﮯ ﺩﯾﮑﮭﺎ‬
‫ﮐﭽﮫ ﺍ‬،
ko (a) ‫ﺒﺎﺭ ﺁﮦ ﺳﮯ ﺩﮮ ﮐﺮ ﺟﻼ ﺁﺋﯿﻨ ﺩﻝ ﮐﻮ‬
ِ‫ﻏ‬، ُ
Kuchh is andaaz se ‫ ﻏﻮﺭ ﺳﮯ ﺩﯾﮑﮭﺎ‬،‫ِﮎ ﺻﻮﺭﺕ ﮐﻮ ﻣﯿﮟ ﻧﮯ ﺧﻮﺏ ﺩﯾﮑﮭﺎ‬
‫ﮨﺮ ﺍ‬
dekhaa, kuchh aise taur ‫ّﺎ ﺗﮭﯽ‬
‫ ﻣﺠﮭﮯ ﺟﺲ ﮐﯽ ﺗﻤﻨ‬، ‫ﻧﻈﺮ ﺁﺋﯽ ﻧﮧ ﻭﮦ ﺻﻮﺭﺕ‬
ُ ‫ﺑﮩﺖ‬
‫ ﺑﺴﺘﯽ ﻣﯿﮟ‬،‫ ﻭﯾﺮﺍﻧﮯ ﻣﯿﮟ‬،‫ﮈﮬﻮﻧﮉﺍ ﮐﯿﺎ ﮔﻠﺸﻦ ﻣﯿﮟ‬
se dekhaa (b)
‫ﺷﻤﻊ ﻣﮩﺮ ﻭ ﻣﺎﮦ ﺳﮯِﺩﻥ ﺭﺍﺕُﺩﻧﯿﺎ ﺗﮭﯽ‬
ِ ‫ّﻮﺭ‬‫ﻣﻨ‬
Ghubaar e aah se de kar
‫ُﮭﭗ ﺍﻧﺪﮬﯿﺮﺍ ﻣﯿﺮﯼ ﮨﺴﺘﯽ ﻣﯿﮟ‬ ‫ﻣﮕﺮ ﭼﺎﺭﻭﮞ ﻃﺮﻑ ﺗﮭﺎ ﮔ‬
jilaa aainaa e dil ko (a)
‫ُﺍﻟﻔﺖ ﮐﺮ ﺩﯾﺎِﮐﺲ ﻧﮯ‬
‫ﻣﺠﺮﻭﺡ‬
ِ ‫ﺩﻝ ﻣﺠﺒﻮﺭ ﮐﻮ‬
ِ
Har ik soorat ko maine ‫ﻣﺮﮮ ﺍﺣﺴﺎﺱ ﮐﯽ ﮔﮩﺮﺍﯾﻮﮞ ﻣﯿﮟ ﮨﮯُﭼﺒﮭﻦ ﻏﻢ ﮐﯽ‬
khoob dekhaa, ghaur se ‫ ﻣﯿﺮﯼ ﺭﻭﺡ ﮐﻮ ﺍﭘﻨﺎ ﻟﯿﺎ ﮐﺲ ﻧﮯ‬،‫ﻣﮣﺎ ﮐﺮ ﺟﺴﻢ‬
dekhaa (b) ‫ﺻﺪﻣﺎﺕ ﭘﯿﮩﻢ ﮐﯽ‬
ِ ‫ﺟﻮﺍﻧﯽ ﺑﻦ ﮔﺌﯽ ﺁﻣﺎ ﺟﮕﮧ‬
Nazar aaii na woh soorat, ‫ﺣﺠﺎﺑﺎﺕ ﻧﻈﺮ ﮐﺎ ﺳﻠﺴﻠﮧ ﺗﻮﮈ ﺍﻭﺭ ﺁ ﺑﮭﯽ ﺟﺎ‬
ِ
mujhe jiskii tamanaa thii ‫ِﮎ ﺑﺎﺭ ﺍﭘﻨﺎ ﺟﻠﻮۂ ﺭﻧﮕﯿﮟ ﺩﮐﮭﺎ ﺑﮭﯽ ﺟﺎ‬
‫ﻣﺠﮭﮯ ﺍ‬ ”
(c) Sonnet 'Dubkani' ‫ ﮈﺑﮑﯩﯽ‬by Zia Fatehabadi taken from his book titled Meri Tasveer
Bahut dhoondaa kiyaa
gulshan mein, veeraane mein, bastii mein (d)
Munnawar shamma e mehar o maah se din raat duniyaa thii (c)
Magar chaaron taraf thaa ghup andheraa merii hastii mein (d)
Dil e majboor ko majrooh e ulfat kar diyaa kisne (e)
Mere ahsaas kii ghahraiion mein hai chubhan gham kii (f)
Mitaa kar jism, merii rooh ko apnaa liyaa kisne (e)
Jawanii ban gaii aamaajagaah sadmaat e paiham kii (f)
Hijaabaat e nazar kaa sisilaa tod aur aa bhii jaa (g)
Mujhe ik baar apnaa jalwaa e rangiin dikhaa bhii jaa. (g)

Pushkin sonnet (Russia)

Alexander Pushkin's novel in verse Eugene Onegin consists almost entirely of 389 stanzas of iambic
tetrameter with the unusual rhyme scheme "AbAbCCddEffEgg", where the uppercase letters
represent feminine rhymes while the lowercase letters represent masculine rhymes. This form has
come to be known as the "Onegin stanza" or the "Pushkin sonnet."[26]

Unlike other traditional forms, such as the Petrarchan sonnet or Shakespearean sonnet, the Onegin
stanza does not divide into smaller stanzas of four lines or two in an obvious way. There are many
different ways this sonnet can be divided.

In post-Pushkin Russian poetry, the form has been utilized by authors as diverse as Mikhail
Lermontov, Vyacheslav Ivanov, Jurgis Baltrušaitis and Valery Pereleshin, in genres ranging from
one-stanza lyrical piece to voluminous autobiography. Nevertheless, the Onegin stanza, being easily
recognisable, is strongly identified as belonging to its creator.

John Fuller's 1980 "The Illusionists" and Jon Stallworthy's 1987 "The Nutcracker" used this stanza
form, and Vikram Seth's 1986 novel The Golden Gate is written wholly in Onegin stanzas.

In Polish

The sonnet was introduced into Polish literature sonnet in the 16th century by Jan Kochanowski,[27]
Mikołaj Sęp-Szarzyński and Sebastian Grabowiecki[28]} Later in 1826 Adam Mickiewicz wrote a
series known as Crimean Sonnets, which were translated into English by Edna Worthley
Underwood.[29] Sonnets were also written by Adam Asnyk, Jan Kasprowicz and Leopold Staff.
Kasprowicz used a Shelleyan rhyme scheme: aba bcb cdc ded ee.[30]

See also

Groups of sonnets
Crown of sonnets

Sonnet cycle

Sonnet sequence

Forms commonly associated with sonnets

Fourteener

Quatorzain

Notes
1. ^ Ernest Hatch Wilkins, The invention of the sonnet, and other studies in Italian literature (Rome:
Edizioni di Storia e letteratura, 1959), pp. 11–39

2. ^ Medieval Italy: an encyclopedia, Volume 2, Christopher Kleinhenz

3. ^ Mailman 2009, pp. 377–378, 402–405, 407–410, 412–413.

4. ^ a b Bertoni, 119.

5. ^ Philip III of France

6. ^ Philip the Fair and Charles of Valois

7. ^ Robert II of Artois

8. ^ Edward I of England

9. ^ Alfonso X of Castile

10. ^ Henri Morier, Dictionnaire de poétique et de rhétorique. Paris: PUF, 1961. p. 385.

11. ^ Morier, p. 385. Vigny wrote no sonnets; Hugo only wrote 3.

12. ^ Monier, pp. 390–393. Morier terms these sonnets faux sonnets, or "false sonnets"

13. ^ Folger's Edition of "Romeo and Juliet"

14. ^ Norman White, "Hopkins, Gerard Manley (1844–1889)", Oxford Dictionary of National
Biography, Oxford University Press.

15. ^ See Ricochet: Word Sonnets / Sonnets d'un mot , by Seymour Mayne, French translation:
Sabine Huynh, University of Ottawa Press, 2011.

16. ^ Bundschuh, Jessica. "G3: History of the Sonnet". Page 1 Universität Stuttgart Institut für
Amerikanistik.

17. ^ Erich Schmidt (1885), "Melissus, Paul Schede" , Allgemeine Deutsche Biographie (ADB) (in
German) 21, Leipzig: Duncker & Humblot, pp. 293–297

18. ^ The full title is listed as Die Sonette an Orpheus: Geschrieben als ein Grab-Mal für Wera
Ouckama Knoop (translated as Sonnets to Orpheus: Written as a Monument for Wera Ouckama
Knoop)

19. ^ Biography: Rainer Maria Rilke 1875–1926 on the Poetry Foundation website. Retrieved 2
February 2013.

20. ^ Polikoff, Daniel Joseph. In the Image of Orpheus Rilke: a Soul History. (Wilmette, Illinois: Chiron
Publications, 2011), 585-588.
21. ^ Freedman, Ralph. Life of a Poet: Rainer Maria Rilke. (Evanston, Illinois: Northwestern University
Press, 1998), p. 491

22. ^ The Encyclopaedia of Indian Literature (Volume Five), 1992, pp. 4140–4146
https://books.google.com/books?isbn=8126012218

23. ^ Encyclopedic Dictionary of Urdu literature, 2007, p. 565 https://books.google.com/books?

isbn=8182201918

24. ^ Zarina Sani (1979). Budha Darakhat . New Delhi: Bazm - e - Seemab. p. 99. “Akhtar Junagarhi
kaa sonnet ghaaliban 1914 kaa hai- Rashid kaa 1930 kaa aur Akhtar Sheerani ne andaazan 1933 se
1942 tak sonnet likhe- isii dauraan 1934 se 1936 tak Zia Fatehabadi ne bhi keii sonnet likhe (Akhtar
Junagarhi's sonnet is from the year 1914. Rashid's sonnet is of 1930 and Akhtar Sheerani wrote
sonnets between 1932 and 1942. During the period of 1932 to 1936, Zia Fatehabadi also wrote
many sonnets)”

25. ^ Meri Tasveer published by GBD Books, Delhi ISBN 978-81-88951-88-8 p.206

26. ^ The Poet's Garret .

27. ^ Lucylla Pszczołowska, Wiersz polski. zarys historyczny, Wrocław 1997, p.95 (In Polish).

28. ^ Mirosława Hanusiewicz, Świat podzielony. O poezji Sebastiana Grabowieckiego, Lublin 1994,
p. 133 (In Polish)).

29. ^ Edna W. Underwood, "Sonnets from the Crimea/A biographical sketch "Adam Mickiewicz: A
Biographical Sketch", in Sonnets from the Crimea, Paul Elder and Company, San Francisco (1917).

30. ^ Text available at: http://literat.ug.edu.pl/kasprow/046.htm .

Bibliography

I. Bell, et al. A Companion to Shakespeare's Sonnets. Blackwell Publishing, 2006. ISBN 1-4051-
2155-6.

Bertoni, Giulio (1915). I Trovatori d'Italia: Biografie, testi, tradizioni, note. Rome: Società
Multigrafica Editrice Somu.

T. W. H. Crosland. The English Sonnet. Hesperides Press, 2006. ISBN 1-4067-9691-3.

J. Fuller. The Oxford Book of Sonnets. Oxford University Press, 2002. ISBN 0-19-280389-1.

J. Fuller. The Sonnet. (The Critical Idiom: #26). Methuen & Co., 1972. ISBN 0-416-65690-0.

J. Hollander. Sonnets: From Dante to the Present. Everyman's Library, 2001. ISBN 0-375-41177-1.

P. Levin. The Penguin Book of the Sonnet: 500 Years of a Classic Tradition in English. Penguin,
2001. ISBN 0-14-058929-5.

J.B. Mailman. "Imagined Drama of Competitive Opposition in Carter's 'Scrivo in Vento' (with Notes
on Narrative, Symmetry, Quantitative Flux and Heraclitus)" Music Analysis v.28, 2-3, 373–422

S. Mayne. Ricochet, Word Sonnets - Sonnets d'un mot. Translated by Sabine Huynh. University of
Ottawa Press, 2011. ISBN 978-2-7603-0761-2

J. Phelan. The Nineteenth Century Sonnet. Palgrave Macmillan, 2005. ISBN 1-4039-3804-0.

S. Regan. The Sonnet. Oxford University Press, 2006. ISBN 0-19-289307-6.

M. R. G. Spiller. The Development of the Sonnet: An Introduction. Routledge, 1992. ISBN 0-415-
08741-4.

M. R. G. Spiller. The Sonnet Sequence: A Study of Its Strategies. Twayne Pub., 1997. ISBN 0-8057-
0970-3.

External links

Sixty-Six: The Journal of Sonnet Studies

BBC discussion on "The Sonnet". Radio 4 programme In our time. (Audio, 45 minutes)

List of Sonnets at Poets.org