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RENAISSANCE SONNETS

RENAISSANCE SONNETS. ELIZABETHAN PLEASURES AND SORROWS. Ball at court (16th century). Nicholas Hilliard, Young Man among Roses. ca.1587. Where is the young man standing? What are the flowers? How is he dressed? Where is is right hand? What do his face and body express?

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RENAISSANCE SONNETS

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  1. RENAISSANCE SONNETS ELIZABETHAN PLEASURES AND SORROWS

  2. Ball at court (16th century)

  3. Nicholas Hilliard, Young Man among Roses. ca.1587 • Where is the young man standing? • What are the flowers? • How is he dressed? • Where is is right hand? • What do his face and body express? • What social class does he belong to?

  4. RENAISSANCE POETRY: THE SONNET

  5. INFLUENCES • DANTE AND PETRARCH PROVIDED A SET OF CONVENTIONS THE ENGLISH POETS COULD VARY

  6. THE LADY • Giorgione, Laura, ca1550. • “ Think you,if Laura had been Petrarch’s wife, he would have written sonnets all his life?” Lord Byron in Don Juan (1812-1824)

  7. Beautiful but cruel • Idealised figure influenced by Plato’s philosophy • We get no insight into her feelings but only into the poet’s interior world • Her beauty is mortal and fades with the passing of time

  8. PARADOX • THE POET WISHES A LADY BUT AT THE SAME TIME HE HOPES SHE WILL NOT SURRENDER • HE HAS CONFLICTING FEELINGS: GREAT HAPPINESS VS DEEP DESPERATION DELIGHT VS PAIN/JEALOUSY

  9. THE SONNET

  10. ITALIAN SONNET: 1 OCTAVE + A SESTET • A • B • B • A • A • B • B • A • C • D • E • C • D • E PRESENTATION OF AN ISSUE OR A SITUATION 8TH/9TH LINE: TURNING POINT SOLUTION OF THE PROBLEM OR PERSONAL REFLECTIONS

  11. CRIN D’ORO CRESPO (Pietro Bembo) Crin d’oro crespo e d’ambra tersa e pura Ch’a l’aura su la neve ondeggi e vole, Occhi soavi e più chiari che ‘l sole, Da far giorno seren la notte oscura, Riso,ch’acqueta ogni aspra pena e dura, Rubini e perle,ond’escono parole Sì dolci, ch’altro ben l’alma non vole, Man d’avorio,che i cor ristringe e fura,

  12. Cantar ,che sembra d’armonia divina, Senno maturo a la più verde etade, Leggiadria non veduta unqua fra noi, Giunta a somma beltà somma onestade, Fur l’esca del mio foco, e sono in voi Grazie , ch’a poche il ciel largo destina

  13. ELIZABETHAN SONNET: 3 QUATRAINS AND 1 COUPLET 1 ST QUATRAIN A B • A • B 2ND QUATRAIN C • D • C • D 3RD QUATRAIN E • F • E • F FINAL COUPLET G ( THE CONCLUSION ADDS AN G EPIGRAMMATIC TONE)

  14. THE ELIZABETHAN SONNET • WAS IMPORTED TO ENGLAND BY SIR THOMAS WYATT AND BY THE EARL OF SURREY • THE FAVOURITE INSTRUMENT OF THE POETS OF QUEEN’S ELIZABETH’S COURT • IS A MORE FLEXIBLE FORM

  15. IT ALLOWS: • TO USE THE TWELVE LINES TO DEAL WITH A SUBJECT, THEN CONFIRM OR DENY IT IN THE FINAL COUPLET • TO DEVELOP THE CONTENT AS IN THE PETRARCHAN SONNET BUT WITH A DIFFERENT SET OF RHYMES

  16. TO PRODUCE THREE DIFFERENT ARGUMENTS OR EXAMPLES AND DRAW CONCLUSIONS IN THE FINAL RHYMING COUPLET • THE COUPLET TENDS TO BE EPIGRAMMATIC AND WITTY IN TONE

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