Sonnet Structure and Rules: Identifying and Analyzing Sonnets

1. If it’s square, it’s a sonnet.What features are you looking for when identifying a poem as a sonnet? What are the rules? DISCUSS

2. Which of these 4 poems are sonnets?Discuss your reasoning STRUCTURE LANGUAGE IMAGERY MOVEMENT SOUNDS AO2

3. XVII I do not love you as if you were salt-rose, or topaz,or the arrow of carnations the fire shoots off.I love you as certain dark things are to be loved,in secret, between the shadow and the soul.I love you as the plant that never bloomsbut carries in itself the light of hidden flowers;thanks to your love a certain solid fragrance,risen from the earth, lives darkly in my body.I love you without knowing how, or when, or from where.I love you straightforwardly, without complexities or pride;so I love you because I know no other way than this: where I does not exist, nor you,so close that your hand on my chest is my hand,so close that your eyes close as I fall asleep. Pablo Neruda from ‘CienSonetos de Amor’ (1960) Neruda divided the book into four parts: morning, afternoon, evening and night. This poem is from ‘morning’ 1. By this he knew she wept with waking eyes: That, at his hand's light quiver by her head, The strange low sobs that shook their common bed Were called into her with a sharp surprise, And strangely mute, like little gasping snakes, Dreadfully venomous to him. She lay Stone-still, and the long darkness flowed away With muffled pulses. Then, as midnight makes Her giant heart of Memory and Tears Drink the pale drug of silence, and so beat Sleep's heavy measure, they from head to feet Were moveless, looking through their dead black years, By vain regret scrawled over the blank wall. Like sculptured effigies they might be seen Upon their marriage-tomb, the sword between; Each wishing for the sword that severs all. • George Meredith from ‘ Modern Love’ (1862) • It is helpful, but not essential to know that Meredith's wife, • the daughter of Thomas Love Peacock, deserted him for another man.

4. Time does not bring relief; you all have lied Time does not bring relief; you all have lied   Who told me time would ease me of my pain!   I miss him in the weeping of the rain;   I want him at the shrinking of the tide;The old snows melt from every mountain-side,   And last year’s leaves are smoke in every lane;   But last year’s bitter loving must remainHeaped on my heart, and my old thoughts abide.   There are a hundred places where I fear   To go,—so with his memory they brim.   And entering with relief some quiet place   Where never fell his foot or shone his face   I say, “There is no memory of him here!”   And so stand stricken, so remembering him. Edna St. Vincent Millay (1892-1950) Children of wealth in your warm nursery Children of wealth in your warm nursery,Set in the cushioned window-seat to watchThe volleying snow, guarded invisiblyBy the clear double pane through which no touchUntimely penetrates, you cannot tellWhat winter means; its cruel truths to youAre only sound and sight; your citadelIs safe from feeling, and from knowledge too.Go down, go out to elemental wrong,Waste your too round limbs, tan your skin too white;The glass of comfort, ignorance, seems strongTo-day, and yet perhaps this very nightYou'll wake to horror's wrecking fire­ your homeIs wired within for this, in every room. Elizabeth Daryush (1887-1977)

5. Let me guess… 14 lines Regular rhyme scheme Always about love… Usually written by men Volta Iambic pentameter Shakespeare AO2

6. Sonnet – Sonnetto – Little poem – Sonus - Sound The typical sonnet structure (developed in the 13th century) comprises of the first octave (8lines) forming the question, problem or expression of an argument, followed by a sestet (6 lines) or two tercets (3 lines) proposing a resolution. Typically the ninth line initiates a turning point or shift in tone called the volta. The rhyme scheme of the Italian sonnet is: abbaabba for the octave, followed by either cdecde or cdccdc for the sestet. Sonnets are usually written in iambic pentameter (five metrical feet of iambs – ten syllables unstress/stress). The sonnet form arrived in England in the 16th century. It is credited to the poetry of Sir Thomas Wyatt (1503-1542) who translated many of Petrarch’s sonnets. Henry Howard – a contemporary – adapted the traditional Italian form and developed the rhyme scheme to: ababcdcdefefgg This now characterises the English sonnet form. The volta usually occurring in the third quatrain. Shakespeare famously used this form in his 154 sonnets published in 1609 – however, his volta usually takes place in the rhyming couplet, adding emphasis. The sonnet form became unpopular in Britain during the 17th century until it was reinvigorated by Elizabeth Barrett-Browning and Christina Rossetti in the mid 19th century. Originated in Italy – Giacomo da Lentini – 13th Century – Over 250 sonnets. One of the most famous sonneteers is Petrarch (Francesco Petraca) born in 1304. His early career was as a priest – however, he gave this up when he fell in love at first sight with a woman named Laura. Laura is thought to be a married noble woman with whom Petrarch had no actual love affair – possibly never even spoke to. However his love for her was so intense that it inspired hundreds of sonnets (317!). Petrarch’s idealised, unrequited, passionate love written in the sonnet form became hugely popular across Europe in the Renaissance period. His prolific work has helped to create the typicality we associate with the sonnet form today. AO3/AO4

7. Typicality • What does this word mean? • What features do the sonnets have in common? • What elements have changed over time? • Why do you think this is? • How do these changes impact meanings? Typicality is a key word AQA want to see integrated across all Assessment Objectives. AO3

9. It has been argued that the sonnet form presents a traditional view of love.Compare and contrast the presentation of love in the two poems in light of this view. This is the format of the unseen poetry question you would be asked in Paper 1.

10. Discuss your points as a group. • How do these poems conform or deviate from the ‘traditional’? • What authorial methods would you analyse? • What contextual information could you include? • Have you got differing interpretations within the groups?a It has been argued that the sonnet form presents a traditional view of love.Compare and contrast the presentation of love in these two poems in light of this view. 1. By this he knew she wept with waking eyes: That, at his hand's light quiver by her head, The strange low sobs that shook their common bed Were called into her with a sharp surprise, And strangely mute, like little gasping snakes, Dreadfully venomous to him. She lay Stone-still, and the long darkness flowed away With muffled pulses. Then, as midnight makes Her giant heart of Memory and Tears Drink the pale drug of silence, and so beat Sleep's heavy measure, they from head to feet Were moveless, looking through their dead black years, By vain regret scrawled over the blank wall. Like sculptured effigies they might be seen Upon their marriage-tomb, the sword between; Each wishing for the sword that severs all. • George Meredith from ‘ Modern Love’ (1862) • It is helpful, but not essential to know that Meredith's wife, • the daughter of Thomas Love Peacock, deserted him for another man. XVII I do not love you as if you were salt-rose, or topaz,or the arrow of carnations the fire shoots off.I love you as certain dark things are to be loved,in secret, between the shadow and the soul.I love you as the plant that never bloomsbut carries in itself the light of hidden flowers;thanks to your love a certain solid fragrance,risen from the earth, lives darkly in my body.I love you without knowing how, or when, or from where.I love you straightforwardly, without complexities or pride;so I love you because I know no other way than this: where I does not exist, nor you,so close that your hand on my chest is my hand,so close that your eyes close as I fall asleep. Pablo Neruda from ‘CienSonetos de Amor’ (1960) Neruda divided the book into four parts: morning, afternoon, evening and night. This poem is from ‘morning’

11. Summer Task • Write an essay answer to the poetry comparison question. • Use the points and ideas that you planned together – you can add to these if you come up with more. • Remember to include alternative interpretations. • Use your Assessment Objective Feedback sheet to keep your work on track – use it to self assess once you have written your essay answer. • Your essay should include: introduction, 3 main comparison points and a conclusion.