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Announcements

  • 4B: National Board forms
  • AP booklets/letters
  • The Good Lie: Saturday, 1-3 in the Media Center; $5 for 3 sliceS of pizza
  • Submit to CADENCE; Cadence staff: picture after school in media center THURSDAY
  • Tissues for extra credit due: TODAY
  • AP Make Up P & P Seminar
  • Make sure you are reading Wuthering Heights

Finish grading Odyssey/ “Siren Song” essays

  • Review Scoring Guidelines and Prompt
  • Groups of 4
  • Read 2 group members’ essays; 5 min/essay
    • Write your name on the top of the essay
      • Assign score
      • Include justification that can help them!
    • Make minimal comments in margins if necessary
    • Constructive criticism only
  • Discuss: 5 minutes
  • Give yourself the score you think you deserve- write beside your name and draw a box around it; include justification if different from peers’ scores

Poetry Terms

The Sonnet

  • Contributions by Glenn Everett, University of Tennessee at Martin, and Vince Gotera, University of Northern Iowa

How to Read Literature Like a Professor

  • What did Foster have to say about sonnets?
    • “…blessedly common, has been written in every era since the English Renaissance, and remains very popular with poets and readers today” (Foster 22).
    • “It has a look” (23).
      • After noticing the geometry of a poem (square)- count the lines
    • “No other poem is so versatile, so ubiquitous, so various, so agreeably short as the sonnet” (23).

The Sonnet

  • A sonnet is a fourteen-line poem in iambic pentameter with a carefully patterned rhyme scheme. Other strict, short poetic forms occur in English poetry (the sestina, the villanelle, and the haiku, for example), but none has been used so successfully by so many different poets.
  • The geometry of the poem is a square because “most lines are going to have ten syllables [due to iambic pentameter] and the others will be very close to ten. And ten syllables of English are about as long as fourteen lines are high: square” (Foster 23).

The Sonnet

  • The Italian, or Petrarchan sonnet, named after Francesco Petrarch (1304-1374), the Italian poet, was introduced into English poetry in the early 16th century by Sir Thomas Wyatt (1503-1542). Its fourteen lines break into an octave (or octet), which usually rhymes abbaabba, but which may sometimes be abbacddc or even (rarely) abababab; and a sestet, which may rhyme xyzxyz or xyxyxy, or any of the multiple variations possible using only two or three rhyme-sounds.

The Sonnet

  • The English or Shakespearean sonnet, developed first by Henry Howard, Earl of Surrey (1517-1547), consists of three quatrains and a couplet--that is, it rhymes abab cdcd efef gg.

The Sonnet

  • 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, 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.

The Sonnet

  • The sonnet can be thematically divided into two sections:
    • The first presents the theme, raises an issue or doubt,
    • The second part answers the question, resolves the problem, or drives home the poem's point.
    • This change in the poem is called the turn and helps move forward the emotional action of the poem quickly.

The Sonnet

  • The Italian form, in some ways the simpler of the two, usually projects and develops a subject in the octet, then executes a turn at the beginning of the sestet, so that the sestet can in some way release the tension built up in the octave.

“Farewell Love and all thy laws for ever”

  • Farewell Love and all thy laws for ever, a
  • Thy baited hooks shall tangle me no more; b
  • Senec and Plato call me from thy lore b
  • To perfect wealth my wit for to endeavour. a
  • In blind error when I did persever, a
  • Thy sharp repulse, that pricketh aye so sore, b
  • Hath taught me to set in trifles no store b
  • And scape forth, since liberty is lever. a
  • Therefore farewell; go trouble younger hearts c
  • And in me claim no more authority; d
  • With idle youth go use thy property d
  • And thereon spend thy many brittle darts. c
  • For hitherto though I have lost all my time, e
  • Me lusteth no longer rotten boughs to climb. e
  • - Wyatt Devonshire (1557)

The Sonnet

  • The Shakespearean sonnet has a wider range of possibilities. One pattern introduces an idea in the first quatrain, complicates it in the second, complicates it still further in the third, and resolves the whole thing in the final couplet.

“Sonnet 138” or “When My Love Swears that She is Made of Truth”

  • When my love swears that she is made of truth a
  • I do believe her, though I know she lies, b
  • That she might think me some untutor'd youth, a
  • Unlearned in the world's false subtleties. b
  • Thus vainly thinking that she thinks me young, c
  • Although she knows my days are past the best, d
  • Simply I credit her false speaking tongue: c
  • On both sides thus is simple truth suppress'd. d
  • But wherefore says she not she is unjust? e
  • And wherefore say not I that I am old? f
  • O, love's best habit is in seeming trust, e
  • And age in love loves not to have years told: f
  • Therefore I lie with her and she with me, g
  • And in our faults by lies we flatter'd be. g
  • - William Shakespeare
  • {First quatrain; note the puns and the intellectual games: [I know she lies, so I believe her so that she will believe me to be young and untutored]}
  • {Second quatrain: [Well of course I know that she doesn't really think I'm young, but I have to pretend to believe her so that she will pretend that I'm young]}
  • {Third quatrain: [so why don't we both fess up? because love depends upon trust and upon youth]}
  • {Final couplet, and resolution:
  • [we lie to ourselves and to each other, so that we may flatter ourselves that we are young, honest, and in love]. Note especially the puns.

The Sonnet

  • You can see how this form would attract writers of great technical skill who are fascinated with intellectual puzzles and intrigued by the complexity of human emotions, which become especially tangled when it comes to dealing with the sonnet's traditional subjects, love and faith.

The Sonnet

  • Pay close attention to line-end punctuation, especially at lines four, eight, and twelve, and to connective words like and, or, but, as, so, if, then, when, or which at the beginnings of lines (especially lines five, nine, and thirteen).

Review

  • The Italian, or Petrarchan sonnet:
      • Fourteen lines
      • Iambic pentameter
      • Consists of an octet (eight lines) of two envelope quatrains
        • Usually abba abba,
        • Sometimes abba cddc,
        • Or rarely abab abab;
        • The turn occurs at the end of the octet and is developed and closed in the sestet.
      • And a sestet (six lines)
        • Which may rhyme xyzxyz
        • Or xyxyxy

Review

  • The English or Shakespearean sonnet:
      • Fourteen lines
      • Iambic pentameter
      • Consists of three Sicilian quatrains (four lines)
      • And a heroic couplet (two lines)
      • Rhymes: abab cdcd efef gg
      • The turn comes at or near line 13

Announcements

  • 4B: National Board forms
  • AP booklets/letters
  • The Good Lie: Saturday, 1-3 in the Media Center; $5 for 3 sliceS of pizza
  • Submit to CADENCE; Cadence staff: picture after school in media center THURSDAY
  • Tissues for extra credit due: TODAY
  • AP Make Up P & P Seminar
  • Make sure you are reading Wuthering Heights

Sonnet 60

  • Get in a group of 2 people.
  • You have a sonnet that has been cut into 14 pieces.
    • Put the lines for this sonnet back together.
      • Use your knowledge of the expected rhyme scheme and the progression of thought
  • When your group is finished, you must read your sonnet and explain your rationale for the line arrangement.

Sonnet 60

  • Like as the waves make towards the pebbled shore,
  • So do our minutes hasten to their end;
  • Each changing place with that which goes before,
  • In sequent toil all forwards do contend.
  • Nativity, once in the main of light,
  • Crawls to maturity, wherewith being crown'd,
  • Crooked eclipses 'gainst his glory fight,
  • And Time that gave doth now his gift confound.
  • Time doth transfix the flourish set on youth
  • And delves the parallels in beauty's brow,
  • Feeds on the rarities of nature's truth,
  • And nothing stands but for his scythe to mow:
  • And yet to times in hope, my verse shall stand
  • Praising thy worth, despite his cruel hand.

Sonnet Comparison

  • Petrarch’s Sonnet 90
  • Sonnet 130 by Shakespeare

The Sonnet

  • Now it’s your turn. Write an original sonnet, following the Petrarchan or Shakespearean style.
  • A sonnet can be helpful when writing about emotions that are difficult to articulate. It is a short poem, so there is only so much room to work in. As well, the turn forces the poet to express what may not be normally expressible. Hopefully, you'll find yourself saying things you didn't know you were going to say, didn't know you could say, but that give you a better understanding of the emotions that drive the writing of the poem.
  • The turn usually takes care of itself somehow, and the more the writer worries about it, the more difficult it will be to reach. As with any poem, let the structure guide you, not vice versa. If you allow the feel and movement of the sonnet to take the poem to the next line, the turn will happen and the sonnet will be well on its way to being complete.


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