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SONNET History Form

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SONNET History Form

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    1. SONNET History & Form

    2. History of the Sonnet Italian origins Petrarchan conventions English sonneteers

    3. Italian Origins Giacomo da Lentini Dante Alighieri Francesco Petrarca

    4. Francis Petrarch 1304-1374 Rime Sparse Laura

    5. Petrarchan Conventions dramatic situation arrangement and organization Petrarchan conceits

    6. Dramatic Situation introspective, autobiographical persona conventions of courtly love (unrequited love for an unattainable beloved) no resolution

    7. Arrangement & Organization not chronological, no consistent narrative each sonnet represents a specific moment emotional roller coaster (woman-angel/icy “monster”)

    8. Petrarchan Conceits love as a war or a battle love as a deadly disease or wound love as torment or torture love as bondage or slavery love as a hunt love as a ship on stormy seas beloved as ruler or master power of the beloved’s gaze physical beauty of the beloved (blazon) name of the beloved (puns) immortalizing the beloved in verse

    9. Petrarchan Conceits pain and pleasure of lovesickness oxymoron and paradox

    10. Petrarchan Conceits CONCEIT: In literary terms, the word denotes an elaborate figure of speech, especially an extended comparison involving unlikely metaphors, similes, imagery, hyperbole, and oxymora. One of the most famous conceits is John Donne's "A Valediction: Forbidding Mourning," a poem in which Donne compares two souls in love to the points on a geometer's compass. BLASON: set of qualities of a woman which the poets “list” for praising purposes by singling out different parts of her body and finding appropriate metaphors to compare them with.

    11. Two typical examples FROM FIDESSA My Lady's hair is threads of beaten gold; Her front the purest crystal eye hath seen; Her eyes the brightest stars the heavens hold; Her cheeks, red roses, such as seld have been; Her pretty lips of red vermilion dye; Her hand of ivory the purest white; Her blush AURORA, or the morning sky. Her breast displays two silver fountains bright; The spheres, her voice; her grace, the Graces three; Her body is the saint that I adore; Her smiles and favours, sweet as honey be. Her feet, fair THETIS praiseth evermore. But Ah, the worst and last is yet behind : For of a griffon she doth bear the mind! By Bartholomew Griffin. Published 1596

    12. Petrarch's Influence

    13. Anti-Petrarchism Originally Petrarch invented them to express the intensification of feeling he was trying to achieve in his Rime. Generations later, imitations caused them to become stale, clichčd, empty of emotional impact. Anti-petrarchan poems rejected those conceits They tried to offer an honest, realistic depiction of love and of the beloved, even by reporting moral and physical flaws (anti-blazon) Their loves/beloveds/poems are better because they are true.

    14. Shakespeare's Anti-petrarchism Though Petrarch was clearly a model for Shakespeare's sonnets, the English poet occasionally refused to celebrate the fairness of his woman in excessively idealized terms ? breaks free from the topoi (conventional conceits, honeyed poetic images...) Angelic/divine lady vs imperfect, flesh-and-blood woman Over-praising of the beloved vs derogatory expressions Idealized love vs earthly love The Dark Lady has nothing of an angel, she is an ordinary woman, but unique and valuable as any other one.

    15. Not only about the Lady...

    16. Petrarch & Wyatt

    17. Two loves I have...

    18. English Sonneteers Sir Thomas Wyatt Henry Howard, Earl of Surrey Sir Philip Sidney Edmund Spenser William Shakespeare

    19. Sir Thomas Wyatt 1503-1542 translated some of Petrarch’s sonnets into English

    20. Henry Howard, Earl of Surrey 1517-1547 invented the English sonnet rhyme scheme

    21. Sir Philip Sidney 1554-1586 Astrophil and Stella “Stella” / Penelope Rich

    22. Edmund Spenser 1552-1599 Amoretti Elizabeth Boyle

    23. William Shakespeare 1564-1616 Shakespeare’s Sonnets fair young man / dark lady

    24. Sonnet Form Rules of sonnet form Italian sonnet English sonnet

    25. Rules of Sonnet Form 14 lines iambic pentameter strict rhyme scheme

    26. Iambic Pentameter pentameter five feet foot a stressed syllable and one or more unstressed syllables in a repeating pattern

    27. Iambic Pentameter iambic unstressed syllable followed by a stressed syllable repeat, insist, New York

    28. Iambic Pentameter We mourn in black, why mourn we not in blood? The curfew tolls the knell of parting day

    29. Iambic Pentameter We mourn | in black, | why mourn | we not | in blood? The cur | few tolls | the knell | of part | ing day

    30. Italian Sonnet vs English Sonnet

    31. “Sonnet” by Billy Collins

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